A stirring and sometimes funny film.

It's that compelling sense of mystery, of the endless search and its undercurrent of loneliness, that sets this great filmmaker apart.

O has one advantage over "Othello" -- since it's a new movie, not a classic, it has the power to surprise.

The Current War is even better than it has to be. Director Alfonso Gomez-Rejon and cinematographer Chung-hoon Chung give the film a swooping elegance, so that shots that start as close-ups gracefully glide into medium shots, and medium shots give way to vistas. The camera is always moving in a way that suggests grace and flow.

A narrative documentary thriller that effectively employs many elements of a John le Carré spy novel: international intrigue, arresting twists and turns, and characters with complicated motivations.

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

All of which is to say that, when it’s Hanks steering the ship and fighting the Nazis, it means something extra. It’s not just happening to him, or them, but to us. And so, we can better imagine what it cost those guys, who had to make that back-and-forth ocean voyage in the awful months before their leaders figured out how to sink the U-boats.

What stays with the viewer is a sense of a man unraveling from his own mistakes and weaknesses.

The movie’s length is, at times, a challenge, but Dune is so original and contains so many strong scenes that the length mostly isn’t a problem.

John Ford and Mervyn LeRoy directed this fine adaptation of the stage hit, a comedy-drama about a first officer on a cargo ship (Henry Fonda) who wants to be reassigned to combat duty. [05 Jul 1998]

It's surefire entertainment: loopy and predictable, but tremendously likable.

Julia Ormond, the British beauty from "Legends of the Fall," has enough class and intelligence to carry it off. She's not a terrific actress, but her cool, patrician looks and her gorgeous voice -- more similar to Grace Kelly's than Hepburn's -- are well matched to the part of a gawky tomboy-turned-Cinderella.

Curtis makes an all-in return to the Strode character, and the filmmaking team builds a solid framework around her, in the propulsive and entertaining new Halloween.

Winner of both the Camera d’Or and an audience award at last year’s Cannes Film Festival, writer-director Hasan Hadi’s feature debut is both beguiling and unforgiving, culturally specific yet universal, funny and heartbreaking.

The film’s best moments show the characters bonding as teens, “Breakfast Club”-style, within their new bodies.

Both women are excellent, and they, as much as the movie's whodunit elements, hold the viewer until the finish.

The saving grace of this French film is that it's anything but a sentimental story.

It's an achingly beautiful movie and a triumph of location scouting, with more cosmopolitan spectacle than the past three Indiana Jones and James Bond movies combined.

Fiennes thrives under his own direction, but such is his sense of balance that everyone else thrives, too.

Like a young director with serious aims, there is an earnest tone here that makes Noi Albinoi a success.

No matter where you stand, there's no denying "Capitalism" is flat-out polemic wizardry.

Sad, funny and painfully honest.

This film is even better if you come in with no spoilers and low expectations.

Half a good romantic comedy. Luke Wilson is the good half...The weak half is Natasha Henstridge.

A droll, deadpan film, deliberately paced and told.

Nobody is better than McCarthy at over-the-top comic hostility.

A surprisingly layered portrait.

There's something heartening about a film that aspires to do nothing but entertain -- and does.