Has been called an exploitation of a tragedy, but in fact it's an expose of tragic exploitation.

Best of all, the laughs often arrive in small moments, not in the obvious ones.

If “Remarkably Bright Creatures” only had that magnificent octopus going for it, it would be halfway to a good movie. But the human characters are interesting, as well, showing the stresses of the different stages of life.

In dramatic terms, Spiderhead is mostly a face-off between Hemsworth’s irresistible force and Teller’s immovable object. It offers the pleasure of watching two actors, just coming into their full powers, going at it full-bore, moment by moment. And each makes the other’s performance better.

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

An enjoyable movie with an entertaining angle on a hard-to-resist period of history.

A rambling documentary that freely moves back and forth through time but maintains interest and cohesion by virtue of its subject. The more you watch Lewis, the more fascinating he gets.

A giddy mockumentary.

Writers David Bryan and Joe DiPietro are somehow always generous yet trenchant with their rich source material. It’s a fairy tale with a “a pretty, pretty girl in a pretty, pretty dress,” but one with a rotten foundation — a royal marriage less built on love than strategized by cold pragmatism.

To see this film is to understand — not in an intellectual way, but in a direct, visceral way — why the British ignored the threat of Adolf Hitler for so long.

The complicated truth is that the Internet’s dangers are entwined with its pleasures, the allure of instant fame, the illusion of contact with masses of people. Nerve is the first movie to capture all that, and the result is a successful and memorable thriller.

The film has a little too much of the "new adventures" feel, but it's still fun.

In Cunningham, the presentation is riveting.

Dead-on hilarious.

Object to the picture on ideological grounds, if you like, but that's no way to watch movies. Better to appreciate the rare spectacle of a filmmaker leading from his gut.

The magnificence of Weisz’s performance — yes, it’s another magnificent performance from Rachel Weisz — is that she is never hiding anything, beyond what a 19th century woman might conceal out of polite reserve. In her every moment on screen, she is an open book. We’re just not seeing all her pages.

The slasher scenes, though relatively few, are amazingly evocative for such a low-budget movie.

Applause is a very minor film with a massive performance at its center.

The strength of Fauci is its underlying theme, which is really not about Fauci at all. Hoffman and Tobias jump back and forth in time, from the AIDS to Ebola to the COVID years, and surreptitiously a portrait emerges of the uneasy relationship between the scientific community, the general public and the political establishment.

It isn’t exciting, because such movies never are. Rather, it is consistently, calmly and compellingly interesting, not the story of a crime but about the process of revealing it.

Much of what we see is revealing, but I was unable to quell an occasional sense that the dice were being loaded, that the subjects were being given just enough rope to hang themselves.

Brutal, tough to watch but impossible to ignore.

It’s funnier than most Austen adaptations and more visually beautiful, and then there’s the movie’s odd tone, which combines a rigorous attention to period detail with an arch and seemingly modern sensibility.

Both curious from a cultural perspective and refreshing.

A giddy French comedy.

The bad news is that The Paper, starring Michael Keaton, Glenn Close and Marisa Tomei, is unabashedly contrived, hopelessly simplistic and overly romantic about its target subject -- the frequently desperate art of putting out a big city daily newspaper. The good news is that all of the above results in a spirited if sometimes awkward big-screen entertainment.[25 March 1994, p.C1]

An irresistible feel-good movie about love gone bad.

Without an ounce of the polemic, [Ewing] offers a vivid perspective of the United States’ immigration issues through a romantic lens. It’s not a new perspective, by any means, but the way she brings it has a poignant beauty all its own.