If this is an example of Australian live-and-let- live, it is very likable.

With "Flynt," Love does what Madonna has been trying to do for 12 years -- create a performance filled with humor, intelligence and soul.

Hannibal Rising isn't a classic, but it's entertaining and a surprisingly fitting addition to the franchise.

The Wanderer can turn an anxious tone to creepy and phantasmagoric. Kaufman's brilliant camera work relies on the exaggerated style of comic books, and the visual energy throughout is gritty.

Overall, it's a nice melding of sci-fi and a crime story.

The caper-movie touches and cocky self-awareness may wear thin, but you can't discount the importance, or the horror, of that footage.

Futuro Beach is part of a welcome wave of European and South American films that center on gay characters, yet deal with universal themes and offer a certain sensibility that would please any art-house enthusiast.

Biutiful exists, at its best and beautifully, in that space that's hard to define, between the outside and the interior, action and thought, body and soul.

This is a likable documentary that casts light on two respected but relatively unknown people, who made major contributions to film and managed to have a normal life — and in Hollywood, of all places. It’s nice to know such things are possible.

Goodbye First Love doesn't badger the viewer into drawing conclusions. It's interested in showing, with great compassion, how Camille comes to a fuller understanding of the world and herself, without the sort of prefab lessons more often found in films than in real life.

The film is energized by the naturalness of its characters and the way in which it plays a game of mixed signals and double illusions.

Mystery skillfully evokes Victorian London's dark depths.

It's hokey, implausible and packed with red herrings, and yet it's a lot of fun.

Charismatic to a fault, he had the look of a prince, with a genuine smile; long, feminine eyelashes; and a forbiddingly shaved cranium.

"Hornet's Nest" isn't the best of the three (that would be the first film, "The Girl With the Dragon Tattoo"), but it's the most challenging.

Fake It So Real isn't just for wrestling fans. It will appeal to anyone compelled by the documentary medium's ability to tell stories.

For those interested in this rich period in American literature, it’s a treat.

As prim and dreamily romantic as an old Doris Day movie -- and a genuine eye-pleaser photographically -- the new romantic comedy I.Q. is one pokey little film that refuses to get up and dance. Or sing. Or do much of anything but be mildly pleasant. [23 Dec 1994, p.D1]

A documentary that is often told in adages, riddles and poetry.

By being more than a superhero movie, it reminds us of what it’s worse than. Its greatest virtue isn’t that it’s a superior comic book movie, but rather that it comes close to not being that at all. Close, and yet not close enough.

Fans have cause to cheer.

Directed by Julie Cohen and Betsy West, the team behind the Ruth Bader Ginsburg documentary, RBG, the film makes the case for Child as an instinctive feminist and a profound cultural influence, who transformed how and what Americans ate in the second half of the twentieth century.

It's an art-direction, Dolby-sound, special-effects extravaganza, a grand-scale effort that's more awe-inspiring than completely successful as entertainment.

Entertaining and compelling.

Moving On is effortlessly intelligent in depicting the experience of being old. Even if you’re not there yet, you know intuitively that old age has very little to do with sitting in a rocking chair in perfect equanimity. It’s about living with the accumulation of things you did and things you didn’t do.

About halfway through Red 2, in the midst of all the laughs and action, suddenly Anthony Hopkins shows up, and he doesn't care one bit that nobody is going to notice his acting in a movie like this. He's going for the Oscar anyway.

Clockers has the strengths of Lee's best work (passion, humor, terrific acting) without the preachiness, self-importance and gimmicky camera moves of his weakest.

What sticks with us in the end is something beyond the black humor and even Khaled’s sorrows — it’s the touching relationship between the two principals, and the Finnish man’s quiet commitment to doing what’s right.