In general the film is so impressive that we can't leave the theater without wanting more.

Stunning, odd, glorious, calm and sensationally absorbing.

The result is a nice little movie that does its job and doesn't spread misery under cover of spreading joy.

Going into Armageddon Time, I had no interest in James Gray’s childhood. But that was to be expected. What I didn’t expect was to have even less interest going out.

An unlovable movie. It's morally ambiguous, which means there's no real rooting interest. It's episodic, with the same kinds of episodes repeated over and over, so there's little sense of forward motion. It feels philosophically and politically confused, so there's no message to take from it.

Though it would be inaccurate to reduce Thelma to an extended metaphor, it’s fair to say that Trier uses the supernatural element to illustrate, in a forceful way, the power of lust, the selfishness of love, and the world-obliterating intensity of a first romance.

Plan B is ultimately a gross-out sex comedy that has more than sex on its mind. It seems odd to consider a film with such familiar beats radical, but the word fits here, in the best sense.

While hardly glorifying abusive husbands, Take My Eyes, a mesmerizing and deeply disturbing film from Spain, makes an attempt to understand their thought processes.

Colette is never dazzling. It has erotic elements, but nothing like “Becoming Colette,” which is, on balance, a weaker film. There’s not a single great scene. But there is no scene that is less than intelligent. Colette is smart, conscientious and absorbing, and gradually, in its diligent way, achieves a certain fascination.

Based on the litany of deep cuts and the intrinsic understanding of the concept in “Mutant Mayhem,” it’s clear Rogen and Goldberg bring a particular love for the franchise to the screen.

Utterly enchanting.

The women are remarkable, unforgettable. But don’t overlook Nivola, an enigmatic figure as the rabbi and husband.

With skill and also with love, writer-director Eric Mendelsohn creates a delicate and airy mood, a kind of cinematic haiku.

At its simplest level, East Is East is a broad comedy, but Puri's acting, so honest and heartbreaking, gives the film weight.

Among Chan devotees, it achieved cult status.

In "Fatal Attraction" [Close] was a woman out of control. Here she's in control of her emotions, too much in control. When Merteuil finally lets loose and gives way to complete animal despair, Close is horrifying. [13 Jan 1989, Daily Datebook, p.E1]

Delirious, over-the-top, gorgeous to look at and with comic timing delivered at a machine-gun pace, Spain’s My Big Night is not only the fastest-moving film of the year so far this side of “Hardcore Henry,” but one of the most entertaining as well.

Black Bear Ranch's legacy of environmentalism (the residents were on the forefront of the anti-deforestation movement), and the endearing long-term relationships it engendered, endure.

As the documentary was produced by National Geographic with the cooperation of the Cousteau Society, Garbus has access to some fabulous, colorfully restored footage, some of it never before seen, that makes this an eye-popping experience — in theaters especially.

It serves as a great introduction to an important artist who was ahead of his time.

Woman of the Hour, Anna Kendrick’s tense, insightful directing debut, re-centers the narrative on Alcala’s victims and the rampant misogyny that suffused the 1970s.

Thanks to Radner’s letters, diaries and autobiography, director Lisa D’Apolito is able to tell us, with great immediacy, what Radner’s thoughts were at the time. We come away with the portrait of someone who was never just going along for the ride, but who was always questioning and challenging herself, working toward professional excellence and hoping for an ideal romance.

It is old-fashioned in a good way, classical and well-acted, and that it has no surprises keeps it from being disappointing, even as it keeps it from being great.

Thompson and Asomugha are nicely paired. Too much is made by critics of the notion of “screen chemistry,” but there is something complementary in the personalities of these two actors, as well as in the roles they’re playing.

Robin Williams: Come Inside My Mind captures that special quality that Williams had, the extra quality that went beyond the laughs, that communicated his whole being.

A harrowing story about the will to survive amid the most brutal conditions imaginable.

An actors' feast.

The problem is that the story, as constituted, is of necessity against organized religion, but Farmiga, as director, pretends that it's ambiguous. So you get a movie slightly at cross-purposes with itself.