A serious documentary about this gloriously trashy trailblazer.

In the end, there’s some naughty, voyeuristic fun to be had from Studio 54, but the bottom-line story of the club — assuming that is of value — is still to be told.

The bottom line with Andrea Arnold's Wuthering Heights is that the writer-director has taken Emily Brontë's tale of undying passion and rendered it passionless.

There's a manic quality to the film that may wear you down. But at least you won't be bored.

"Bombshell” tells the story of a triumphant and consequential life. And there’s more: Everybody interviewed on camera about her apparently really liked her, especially her children. That’s no small achievement.

The payoff in 21 Grams comes not from watching characters achieve or overcome but from the recognition of their struggle not to give up the fight.

When (and before) the end credits roll, you will probably feel a sense of outrage — and helplessness.

While The Lady in the Van is one of those quaint and quirky little films of which the British are inordinately fond, Americans will find it equally endearing, with the exception of the hideously over-the-top final scene.

Bottaro finds ways to dramatize chess, and the environments are fascinating throughout.

Well-made and modestly enjoyable.

A very human story.

The best thing Harrelson brings is his own sweetness of disposition, which somehow never goes completely into hiding.

This is an embarrassing film. It's a sex comedy that sets itself up as a satire of middle-class mores, except there's no truth behind any of its observations. LaBute tries to be shocking and manages only to be shockingly puerile -- tasteless in a high-school-boyish sort of way.

Solid if unspectacular.

It’s a good film, very unlike most “disease of the week” pictures, in that it’s often quite funny, and it tells a fascinating story about something that remains mysterious to most people.

At 86 minutes, Beavis and Butt-Head Do the Universe feels twice that long. Most of the good laughs are front-loaded in the premise; the rest pop up every 15 or 20 minutes, which isn’t exactly prime Mel Brooks ratio.

Late Night is a fairly agreeable experience, and every time Thompson is on screen, there’s a reason to keep watching.

A forgotten masterpiece.

City Slickers is a funny and affecting comedy, with wonderful jokes and a script flashing intelligence in every direction. [7 June 1991, p.E1]

The best teenage werewolf movie ever made.

Connoisseurs of straight-to-video mayhem will revel in the latest chapter of the "Universal Soldier" franchise, which manages to strike that delicate balance between over-the-top ridiculousness and well-crafted filmmaking. [28 Feb 2010, p.Q28]

It's a violent yet occasionally funny film - thanks to some inventive gags that pop up - and it hits some of the same blood-splashed chords as "Terminator." [17 Jul 1987]

Like all great works of art, the story’s point has resonances beyond its era and even beyond the specific subject of gay people, generally.

Aimed directly at your inner 8-year-old, and it strikes home.

The Old Guard shows that, in the hands of a smart writer and director, something can be made of it that’s worthy of our attention. This genre can grow. Let’s hope it does.

Fortunately, !Woman Art Revolution isn't a stuffy museum piece. It's an important documentary, sure, but it's also playful and engaging.

A film for anyone who enjoys an intelligent thriller, but for illness phobes this movie is a special pleasure in that it presses all the right fear buttons even as it validates a very particular vision of reality.

Talky, emphatically unsteamy psychological drama.