Though the movie isn't wildly original, its time-tested, artistic mantra of "just go out there and do it" is hard to resist.

Emily Watson, who always brings a special grace to the screen, gives a multilayered performance to the role of Margaret Humphreys.

Lévy gets expectedly strong work from the veteran Devos and outstanding performances from Sitruk and Dehbi.

A movie for teenagers, and, as these things go, very entertaining.

Savagely lyrical, Vazante offers a harsh, impressionistic take on slavery in 19th century Brazil. And though the storytelling leans toward the opaque, the film has a sense of authenticity and power that keep it interesting.

Doesn't add up to much, but it's fast and funny and lets a bunch of top-drawer actors exercise their comic muscles.

Domingo, who began his career as a stage actor in San Francisco, brings velocity to all the scenes involving the march. He seems unbound, possessed by an understanding that he’s doing something bigger than himself.

A movie can’t just be crazy, lest it go off a cliff and never land. It also needs a human core, and Diesel and Rodriguez are it.

It's the portrait of an artist who had neither time nor respect for literary niceties -- he was, in the words of publisher John Martin, a "man of the street writing for the man of the street."

Shot on the streets of New York and offering vistas of the city before all the glass and steel skyscrapers, The Naked City, which won Oscars for cinematography and editing, boasts an impressive pedigree. [04 Jan 2004]

Starts slowly, builds slowly, resolves slowly and ends slowly, if indeed it can be said to end at all.

Benefits enormously from Aiello's down-to-earth magnificence.

The movie has the wisecracking quality of a Sturges screenplay, but it's warm and heartfelt, too. [13 Nov 2016, p.Q16]

A Hungarian film -- an existential thriller, one might call it -- about an intelligent man who happens to have this lowly nuisance of a job.

It provides unvarnished behind-the-scenes access to a presidential campaign, showing aspects of the process that we would never see otherwise.

It works as an intriguingly offbeat character study while offering Nicolas Cage a chance to show why he used to be considered one of the top actors of his generation.

That Hossein Amini, in his first outing as a director, kept all three of these well-known actors in perfect balance suggests a filmmaker who knows how to steer a performance.

The Post is on safe ground when it focuses on Streep as Graham — tentative, slightly affected, but growing by the day — and with Graham’s relationship with her gruff, hotshot editor, Ben Bradlee, played by Tom Hanks, against type but winningly. The movie’s challenge is the journalism story, which is not as clear-cut as Watergate and is therefore harder to dramatize.

There is history as it's remembered, and then there's history as it happened. This documentary gives us the latter, and it's a true education.

Landscape With Invisible Hand is a bizarre, off-kilter experience that shows us how we are destroying ourselves, no aliens necessary.

Seducing Charlie Barker is a movie made by people who haven't been making movies, but should be. As in, often. As in, from now on.

A showcase for Wang's greatest strengths as a film maker: a chance to explore friendships, connections and random serendipities.

Capone is about as demented a movie as you can see right now, and that’s apart from the fact that it’s about a demented person. If Al Capone were ever put in an insane asylum (he wasn’t), this movie could have been made by the guy in the next room.

While False Positive has lapses in logic and could have a quicker pace in the second half, it fully embraces a bizarre sense of the macabre that is irresistible.

Perfect Blue manages, through animation, to take the thriller, media fascination, psychological insight and pop culture and stand them all on their heads.

It’s a good sci-fi action movie, too. Far be it from me to give this movie the kiss of death by making it seem too serious for its core audience. Chappie is everything it has to be — but it’s everything it should be, too.

Never becomes the thoroughly satisfying psychological drama that it promises to be. There's also a problem with the central metaphor of ice -- a literary device that turns repetitive and obvious.

Le Samourai is beautifully assured and has a strong consistency of visual style and tone, but I can't say I had a great time watching it.