Edge of Tomorrow covers familiar ground with unexpected wit and economy, and the result is a thoroughly entertaining sci-fi fantasy.

A brilliant performance (Walken).

An elegant and rather even-tempered documentary.

A dark, unsettling drama from Italian filmmaker Matteo Garrone.

Funny, affectionate documentary.

Fascinating stuff.

Wonderstruck should not be confused for a brilliant but challenging film. Rather, it’s narratively deprived and with entire sections that are completely charmless.

As thrillers go, Rapt is long on intellect and short on action, a virtue to some degree, though not entirely.

Theo Padnos, who was kidnapped and held for nearly two years by al Qaeda in Syria, has a compelling story to tell. Unfortunately, it is not compellingly told in the documentary Theo Who Lived.

Hacksaw Ridge is one of the best films of 2016. And the victory is all the more sweet for Gibson in that he succeeds on his own weird terms.

The picture... is well- made and entertaining, but it holds a special interest in what it says about Hanks.

Although it’s good to have a critical accounting of his role in modern American politics, most of what we see here has been reported elsewhere, and this documentary seems aimed at rallying the troops.

On its own terms, Escape From Mogadishu makes for an engrossing, nail-biting Korean history lesson.

The documentary isn't particularly thrilling, or even very informative, but it's almost certain to lower your blood pressure for 83 minutes.

More than on "Prime Suspect," more than any film in recent memory, Le Petit Lieutenant conveys the relentless toll of big-city police work.

It's not a bad film, but Towne and his star, the charismatic Billy Crudup, never fire the imagination in the way their inspirational, respectful biopic is obviously intended to.

22 Jump Street is exactly what comedy is today. It's coarse, free-flowing and playful.

Twilight’s Kiss is a fragile film of quiet moments and tender feelings, and although it runs out of gas near the end, it takes us on an engaging journey.

At its best, “Erupcja” feels truthful, even insightful. At its worst, it’s an off-putting selfie of the chronically self-absorbed, like a big-screen “Girls.” It does offer an interesting perspective on its case of apparent synchronicity late in the film, but leaves plenty for viewers to ponder on their own.

Luther, who identifies as gay, never explicitly assigns labels to these young characters, which makes perfect sense in a story that openly embraces freedom and tenderness. Here’s hoping for many more films from this sensitive, nuanced talent.

The movie saves most of its modest number of jolts for its last quarter or so, which makes them all the more intense. They stick in your craw - and be warned, they're not for the squeamish.

A dark comedy that confirms Diablo Cody as a screenwriter of importance, eliminates the last shred of doubt that Jason Reitman is a major director and gives Charlize Theron her best showcase since "Monster."

A little movie with a lot of hilarious swearing and an unexpectedly big heart.

The result is 50 percent more realistic than the average sports film.

It is such a soul-killing exercise in narcissism — and not a very smart thriller, either — that yeah, you can buy into the notion that Tinseltown is a total drag.

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]

When explored by writer-director Mike White’s expert, soulful script, Brad, against all odds, becomes a sympathetic figure, and the film itself achieves a sort of poetry.

Sets off depth charges of the psyche.