A meandering, slow journey with a fairly bland leading character. Director Kirsten Tan, who is from Singapore and based in New York, must be admired for the audacity of casting an elephant as a co-star in her feature film debut.

Anyone can make a bad movie, but it takes a good filmmaker to make one as bad as I'm Not There.

Wham! tells a sweet story, but also a goofy and entertaining one, because these guys were more ’80s than anybody, more even than “Miami Vice” and Duran Duran.

A spellbinding Australian Western.

They are naturals at acting, not because they're good at lying but because they can't be phony.

This nasty, provocative comedy comes from a play by Rainer Werner Fassbinder.

Moretti's performance is low-key but detailed. He makes the psychiatrist a fascinating guy, rather austere and restrained, a Northern Italian, not an expressive Neapolitan.

Nicely photographed and beautifully scored.

The Coens' plotting, with its suspense and reversals, is a source of amazement and delight.

Almost everything that made "The Bourne Identity" refreshing -- the wit, the irony, the suspense, the novelty of its premise -- is gone in The Bourne Supremacy, and what's left is the spectacle of Matt Damon, with perfect posture and senses primed like a cat, making his way through a routine action thriller.

To put it into a larger perspective, if Creed III were a “Rocky” movie, it would be up there — nowhere near the original “Rocky” and a little worse than “Rocky II,” but certainly better than the rest of them.

Fueled by exquisite performances from Tony winner Erivo (“The Color Purple”), as Elphaba, or the Wicked Witch of the West, and Grammy winner Grande as Glinda the Good Witch, “Wicked” is the best movie musical in years, representing a rare instance when performances, visuals and songs are of equally high quality.

The documentary is not always fascinating, but Tuschi's ultimate thesis - that Khodorkovsky, who started out a shady businessman, ultimately emerged as a hero, willing to go to jail for his convictions - is a persuasive one. Clearly, the man is a political prisoner.

Climate change is never explicitly mentioned in the documentary The Biggest Little Farm, one of the year’s best films, but it hangs all over the deep, rich story of the Chesters, a pair of hardscrabble idealists who move from the concrete jungle of Santa Monica to start a 200-acre, sustainable farm from scratch.

Like George Bailey, and the Cartwright family from “Bonanza” and other fictitious families, the real-life story of the Sungs is one of loyalty and adhering to their code, even as they face losing everything.

The movie suffers from two fatal ailments -- a dearth of vitality and a story that's shapeless and uninflected.

Now, thanks to A Most Wanted Man, we discover that it's really boring - practically sleep-inducing - to be an international spy.

After watching Spaceship Earth, which was completed before the coronavirus pandemic, one can’t help but think about the current experiment conducted by Biosphere 1. As smog clears across urban landscapes due to stay-at-home orders, the vision — and the warnings — laid out by Biosphere 2 remain relevant.

Features an exceedingly dapper Richard Gere in a series of nice suits and handsome close-ups that serve no purpose other than to remind us how exceedingly dapper Richard Gere looks in nice suits and handsome close-ups. The rest of the movie registers as a loss of: time, money, talent and logic.

This is the kind of small filmmaking that leaves a big impression.

The animation, sparkling and graceful, also ranks as the studio's best traditional work in ages.

The formula persists two centuries after Austen perfected it because it’s aspirational and satisfying at the same time: We want it to wreck our own lives, too. It’s durable precisely because it’s pliable, offering storytellers a template in which to explore their own era’s mores and ideals, questions and anxieties.

Has two main flaws: the emphasis it puts on German bassist Alexander Hacke, the film's ostensible narrator, who shows up in too many scenes, and the fact that it doesn't identify many of the film's performers until the very end. Even so, Crossing the Bridge is satisfying to watch.

Despite the terrific set design in The World to Come, the characters don’t feel at home in it; they do very little farm work, for example. Still, Waterston and Kirby do achieve an intimacy that operates as a warm fire warding off the chilliness around them. It’s too bad we were left out in the cold.

Burns has created an endearing gathering of people we all know, and every one of them is so much fun that leaving the theater at the end elicits a touch of regret.

Soft, evanescent and bittersweet.

Rarely does a movie come along that captures an aspect of everyday consciousness that has not yet made it onto film.

Full of drama, poignancy and some heartbreaking moments.