Jennifer Jason Leigh (Baumbach's wife) appears in two scenes, as an ex-girlfriend of Greenberg, and she's quietly brilliant, as always.

A potboiler but entertaining enough to rise above its flaws.

It's a bleak, fatalistic tale about rootlessness and the changing moral order in the machine age, but the wondrous details of the film trump any grand thematic concerns.

Women’s sports owes a debt to Shields. She finally has a movie that gives her deserved flowers.

If there is any suspicion that PBS is trying to butch it up for the Bush administration, this film's thoughtful and heartbreaking depiction of the hell and loss of war is an eloquent counterbalance.

A movie of intelligence and power, of beauty, universality and largeness of spirit.

Every character, even minor ones, is well thought out and cast; the eye-popping visual design is not only inspired and mesmerizing but also functional; and memorable songs by Lin-Manuel Miranda and others complement the story perfectly.

A documentary that is often told in adages, riddles and poetry.

Ashkenazi is a terrific actor, commanding and grand-scale in his aura, but with an unmistakable warmth. And Gere, cast against type, couldn’t be better. In a career of only good performances, this is one of his best.

A further, captivating extension of Oshima's marriage of the oblique and the erotic.

Mamet finds an angle just new enough to be fresh.

A liberating experience.

It is, all in all, off its rocker. But it's gorgeous.

It’s a crime movie, but as the title suggests, it’s a personality study, a detailed one that grows in dimension. It’s fascinating to watch Plaza fill in those details. Her face is almost blank, but only almost. We always know what she’s thinking.

In recreating the fantastic adventures of Solomon Perel, director Agnieszka Holland not only shows a lively appreciation for his anguish and his adolescent desires, but she also illuminates the mentality of mass ideological movements -- both fascist and Communist. That is a large order and Holland, a Polish-born, Paris-based director, carries it out with acute, ironic flair. [03 July 1991, p.E3]

Easy Money takes its time telling us how all the fortunes of all three men intersect, and the movie's failing - or at least its significant imperfection - is that when the stories and lifelines do converge, the results just aren't satisfying.

Gorgeous animated film.

Neeson is a delight and seems to be having as much fun as the audience. But the surprise here is Anderson, who was sad and plaintive in “The Last Showgirl” and now reveals herself a skilled and self-aware comedienne. Anderson is having a moment right now, and I’d like to see it continue.

Morricone’s presence in the documentary is the key element, because by watching him, we understand the sensitive qualities that made him so good at interpreting and augmenting the work of others.

Director Joseph Kahn and writer Alex Larsen exhibit tremendous glee in their takedown of everything that even smacks of political correctness, though at two hours, that excitement causes much of the dramatic tension in the plot to dissipate before the climactic battles.

Hilarious.

Devlin tells his story without bias but with shards of gallows humor.

Taps into the same emotional current that sustains the entire "buddy picture" genre, but does so with feeling and unmistakable insight.

It's a one-of-a-kind experience -- dark, bleak, twisted carnival noir.

Musician Charlie Sexton brings charisma and a haunted quality to Townes Van Zandt, the legendary Texas musician who was a Foley pal, drinking buddy and fellow teller of tall tales.

This is smart, inspired, no-fuss entertainment.

Boy A will rivet you while raising issues about forgiveness and just who deserves it.

The Order, directed by Justin Kurzel, has less interest in sermonizing about the evergreen cycles of racism in this country than in tracking a series of explosive events as a well-crafted thriller.