A captivating 86-minute film by Lisa Immordino Vreeland, who is married to one of Vreeland's grandsons.

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.

Bill W., an admirable, illuminating film about the co-founder of Alcoholics Anonymous, is pretty much like the man himself: solid, sometimes flawed and seriously unflashy.

Bana is rock-solid throughout, able to convey sensitivity and moral probity through a not quite impassive facade — never overdoing it, never underdoing it — and yet fulfilling his duties as the movie’s locus of feeling and meaning.

Gripping and compelling.

If you want to know what a culture thinks it thinks, watch drama. But if you want to know how it really thinks, watch comedy. Watch, for example, Blockers, which is exuberant in its crudeness and coarseness. It’s where comedy is now, and it’s very funny.

There’s something so deeply right about this movie, so true to the time depicted and so welcome in this moment; so light in its touch, so properly respectful of its characters, and so big in its spirit that the movie acquires a glow.

Every time it threatens to devolve into sentimentality or cynicism, someone is there to take the reins.

Nothing about Of an Age seems forced. The film delicately embraces grand sentiments without ever being sentimental. And throughout the journey, we can’t help but be enthralled.

A strange story. A strange world. And strange characters doing even stranger things.

Joel Edgerton, who wrote and directed, co-stars in Boy Erased. Edgerton casts himself as Sykes, who runs the conversion program, and he couldn’t have found a better actor for the role.

By far Elvis' best post-Army flick, and you can thank Ann-Margret for that distinction. [03 Aug 1997, p.34]

There are moments of genuine pathos, genuine humor, genuine surprise. As much as the film adheres to the strictures of the standard comic-book movie, it also pops with a knowing, loving, Whedon-world jokiness that keeps everything barreling along.

This is a tale from the front lines, before the disease had a name, through the early days when no one knew for sure how it was transmitted.

Pay attention to the camera, and you will see that Polanski is a clinician. He is in the thrall of no one.

This is a good movie for Hamm, and also for Pike who, in her recent films, has too often been either a madwoman or a victim of circumstance (and sometimes both). Here she gets to be active and think on her feet, and it makes a big difference.

A wonderfully twisted comedy.

Fascinating and impressively balanced documentary.

In all, it’s an absorbing, straightforward look at a truly alien environment. The film could be nicely paired with Werner Herzog’s “Encounters at the End of the World” (2007), a much more idiosyncratic view of Antarctic strangeness.

There's a lot of interesting material here, but Rachman doesn't offer any real analysis of his own, and the film suffers from a lack of narrative focus.

It’s a testament to the skill of first-time feature director Atsuko Hirayanagi that these wild mood swings can co-exist without blowing the movie apart.

In the person of Cameron Diaz, Mary is an island of sanity, good-natured humanity and genuine sweetness in an ocean of anarchy. Without her presence, There's Something About Mary would be merely sophomoric and tasteless.

You could rightly call it a thriller, but a slow-burning one, and a film that’s driven by character, not plot points. And that won’t do in Tinseltown. So enjoy the original, preferably in a theater, and revel in the rich, layered performances of veteran actresses Emmanuelle Devos and Nathalie Baye (men are incidental in this movie, another Hollywood no-no).

If the movie has a weakness, it’s that Zohar gets the most screen time, though she’s the least engaging character.

It’s the rare film that can match the vapidity and venom of "Bodies Bodies Bodies," a combination that’s both toxic and entertaining. There are many influences — “Mean Girls,” “Gossip Girl,” “Scream,” to name a few — but "Bodies Bodies Bodies" takes all of these influences and creates an original spin for the social media age.

So what's wrong with Joshua? Two things: The audience is ahead of the movie, and the movie never catches up.

The film is a showcase for a talented ensemble of Black actors, not the least of whom is Samuel L. Jackson, who plays Doaker, an older, mellow wise man.

Gook is at its best when detailing the interactions of the three in the shoe store, but it strikes a more urgent note when the riots break out and the store comes under threat.