As an exercise in craft, it's surprisingly successful, thanks to the strong cast and the vivid depiction of a modern leader's security apparatus. But as a political statement or personal drama, The Ghost Writer is nearly invisible.

The Guardians make a winning team that is a prime candidate for a sequel, just like "The Avengers."

If the film is a bit too slow-paced, it’s also uniquely mesmerizing, with performances that perfectly complement the episodic narrative.

Pleasant, well-acted but somewhat overlong, The Way was written and directed by Estevez, who's perhaps best known for his acting career ("The Breakfast Club").

Even more than most versions of Anna Karenina, this chamber piece is heated by two combustible characters, not by the winds of war and peace.

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

The Debt eventually settles into a predictable groove that slightly undercuts its impact. Still, it's a film of ambition and substance.

Even after all the problems are discussed, a de Palma thriller at less than full speed is as good or better than most directors can turn out with their foot to the floor. [11 Aug 1992, p.4D]

Wrath of Man feels like a homecoming for director and star, and an evolution, too. With Statham in the lead, playing one of his classically taciturn and tactically lethal action heroes, Ritchie is as restrained and controlled as he’s been in years.

A textured and unexpectedly entertaining drama about the human toll when racial assumptions crash.

FLETCH LIVES is significantly funnier than the original ''Fletch,'' probably because it takes itself just a a little bit more seriously...While there are one-liners aplenty, there also is at least the hint of a real mystery. And this time, Chevy Chase seems to have broken loose from the Burt Reynolds syndrome, which involves trying to get laughs with a bad line by making a funny face. [22 March 1989, p.4F]

What makes this low-key movie memorable are the pitch-perfect performances.

Sometimes the juxtaposition of moods is a bit jarring and the collection of varying characters almost too much. Mostly though, they work to create a weirdly fascinating film that unfolds leisurely, offering vivid intensity, some humor and strong performances along the way. [13 Nov 1998, p.E3]

Broken Embraces is stylish and sly, an engaging exercise that gives us less than meets the eye.

What about those who haven’t read the book? Divergent, the movie, still offers a smart, spunky, sympathetic heroine, a hunky love interest and a sobering if rather obvious message about the value of being true to oneself rather than mindlessly conforming.

The Wedding Banquet is sweet and touching and, at times, very funny. [27 Aug 1993, p.3F]

The story is predictable from start to finish, but there's ample fun getting there. Director Ken Kwapis lets the orangutan set the tone, and it ends up a slapstick ensemble comedy. [12 Jan 1996, p.3E]

Bad Words is often very funny, thanks to Bateman’s brick-wall malevolence and screenwriter Andrew Dodge’s inventively rude dialogue.

In place of a rousing adventure, Blackthorn is a haunting ode.

Manny and Lo is a significant achievement for Krueger, who has shown herself on this first outing to be a smart, sure and strong director. [23 Aug 1996, p.6E]

The sweeping scenery, made even more thrilling by Basil Poledouris' score, makes up for the slow moments. And Selleck and Rickman are equally convincing in their respective roles as the undisputed good guy and bad. [19 Oct 1990, p.3F]

Lacks the urgency of "Who Killed the Electric Car?" But Paine's thorough knowledge of his subject, and engaging way with an interview, make the follow-up film a fun ride.

Michael Keaton and Christian Bale are the best. George Clooney and Ben Affleck are among the worst. But Will Arnett is by far the funniest.

Although there are gentle detour discussions about advertising in classrooms and school buses, Spurlock's ironic approach can't convince us that ads are toxic. Indeed, when he visits sprawling Sao Paolo, Brazil, where all outdoor advertising has been banned, it seems as sterile as Stalingrad.

Sausage Party is cute and cheeky and harmless. But it is decidedly not for kids.

Provocative, intelligent but just a bit underwhelming, Our Brand Is Crisis — inspired by a 2005 documentary of the same name — plays as if the filmmakers started out with Oscar aspirations but ultimately weren’t up to the challenge.

While Banderas' dark intensity overshadows the potential poignancy of the story, Almodovar is such a skilled surgeon that he extracts a juicy nugget of pleasure from a purely distasteful premise.

It has a game cast, it’s watchable, fun, sick, sad and has to be seen to be believed.