A rich and elegant film, full of sly, devious characters with complicated motives.

Although the "weird" factor is very much in play here, director Tomer Heymann does a fine job of peeking behind the curtain and discovering real humanity at work. We not only get to know these transsexuals as people, but also their patients.

Polly Findlay’s adaptation of Bernard MacLaverty’s 2017 novel is a serious attempt to delve into a complex marriage, and fortunately for such heavy material it contains two winning performances from Manville (so delightful in “Mrs. Harris Goes to Paris”) and Hinds (“Is This Thing On?”).

Taking place mostly over the course of a single day, it’s a smart and languorous film that finds time to luxuriate in conversations and to create a feeling for small-town American life.

The big-screen series has smartly keyed into the character’s long-running (and fast-running) appeal. Like its predecessor, Sonic the Hedgehog 2 knows when to go big, but more important, it knows when to stay small. Go ahead, put a ring on it.

Crowe and his movie leave you with a good and generous feeling. As the Matt Dillon character might say, it's a pretty good hang. [18 Sept 1992, p.C1]

As a work of art, the movie is merely on the bright side of OK. But as a vehicle for an emerging star, as a platform to show one actress in a variety of modes and moods, within a sympathetic and glamorous context, it couldn’t be better.

Ultimately lacks the narrative muscle that could have made it great. But it does have McDormand, who is great in this, her best showcase since "Fargo."

An action sci-fi blockbuster extravaganza that provides cartoon thrills for thinking people. It's the best movie of its kind since the second "Spider-Man" movie four years ago.

Clever and unhurried mystery.

Surprisingly good as a quirky triumph of human spirit.

The possibilities of Jenna's confusion are exploited for full comic effect. Garner, who turns out to be a charming, abandoned comedian, makes Jenna's incredulousness and innocence very funny and occasionally even touching.

A crisp and entertaining documentary.

Audiences looking for a nonstop laugh riot may be disappointed, but the big laughs are there, and they benefit from the movie's underlying sincerity.

The only weakness of the movie is that, because it’s a true story, it can’t rearrange the order of events for maximum drama. Thus, what is essentially the climax of the film comes about three quarters in, and the rest of it, while never less than interesting, feels like falling action. The good news is that Sweeney and Kirby get their best scenes, respectively, in this last section of the movie.

Haunting in its charm, Children of Heaven opens a window on both contemporary Tehran and the hopeful heart of childhood. This lovely, amusing film deserves a big audience -- especially families. It touches on the innocence of children with tremendous affection.

The movie belongs to Rodriguez: A gorgeous woman with a powerful body and the face of an Aztec princess, she's also a natural talent who instinctively understands the importance of economy in good acting.

(Washington) raises it to the level of importance with an acting job that's one unbroken chain of intense emotion.

Paradis, an actress and pop singer, is sensational.

A funny and appropriately skewed comedy.

First-time director Tony Goldwyn (scion of the family that started MGM) brings a freshness to an old story.

A triumph of simplicity, innocence and goofy jokes.

A real surprise. It seems to promise an exploitative genre movie, about gangsters and drug deals, and it delivers on that, but it’s something more. Director Catherine Hardwicke and screenwriter Gareth Dunnet-Alcocet have taken a Mexican thriller, with a female victim at its center, and have turned it into an intelligent feminist film.

Bong has an original vision and a distinctive style that’s not to be dismissed. He’s our era’s Terry Gilliam, where hope pushes through the tragicomic nihilism.

Underscores that choices in love are rarely clean and easy, and more often than not, are poignantly funny.

Visceral and strong.

It’s a funny movie, but it’s also one in which Schumer becomes truly legible, as someone who could be headlining comedies for the next decade or more.

Defamation tries to give all sides a full airing, but it's not hard to guess the director's own feeling. At the end, he says, "Putting too much emphasis on the past, as horrific as it has been, is holding us back."