The performances, the writing, the direction, Segel’s D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it’s towing out the real Wallace’s ghost to perform some soppy parody of himself.

Surely the real story of Enron is that so many accountants, lawyers, bankers and politicians were willing to call a dog a duck in order to remain happy insiders in the world's biggest pyramid scheme.

One of Robert Altman's lesser known gems, Thieves Like Us, brings Depression-era rural Mississippi to life with the story of three convicted killers on the lam from prison.

This story of personal redemption tacks drama by the nautical mile. "The ocean is always trying to kill you,” says Edwards, a woman like most who knows about facing high odds and salty conditions.

Reeves keeps the action moving steadily, never letting the film’s 140 minutes feel even slightly bloated, and surrounds Caesar with a visually stunning, compassionately conceived group of side characters.

Constant is the very thing The Constant Gardener is not. Attractive yet fickle, the movie beckons enticingly one moment and wanders off the next.

Short Term 12 is a triumph of modesty.

Parenthood is a charming, amusing piece of work. It doesn't say anything new - Howard clings as tightly to tradition as Norman Rockwell - but it says the old things with enough wit and eloquence to keep them going for another generation. [2 Aug 1989, p.C7]

As visually stunning as it is profound, Two of Us is an incredible exploration of what it means to love and be loved in return. And while Sukowa’s passionate and remarkable performance is heart-stopping, Chevallier’s quieter moments will make an indelible mark on your heart, changing the way you see others and even yourself.

Even those familiar with the legacy of the show will discover new and fascinating things about the history of Sesame Street throughout the film – and anyone who watches Street Gang will come away moved by everything its cast and crew managed to accomplish.

Split into two parts and narrated by Koberidze himself, What Do We See When We Look at the Sky? is a true magic act, intimate and massive at the same time.

From its quiet opening sequence to its silent final shot, everything about A History of Violence is deceptive, and deceptively simple.

Adds more cosmic cliff-hangers than it resolves, and it's not as satisfying as the original. A star war can be an exhausting bit of business, especially when, in the end, it turns out to be something of a cheat.

Mainly, though, the film's strength is reportorial, sensitively exploring a theme that has grown ever more prominent with the globalization of sport.

This is a war film with an anti-epic feel, best when it forgoes the forced march of plot to hunker down in the trenches of our flawed humanity.

Very light-hearted and glamorous. [09 Nov 2002, p.R24]

The Lobster is a brilliant piece of satire, but largely fails in an attempt to build its wicked wit into a more conventional romance.

Yet, for all that's wrong here, one thing is wonderfully, blissfully right, and his name is Tom Hanks.

Admittedly, near the end, the picture loses some of its energy and compelling ambiguity (about a half-star's worth, I'd say). Still, by then, the big gains have been made. At its best, The Nightmare Before Christmas occupies the imaginative ground held by the likes of White and Dahl and Seuss - that lovely place where, for shining moments, parents and children can travel on the same passport and smile for the same reasons. [22 Oct 1993]

In order to move forward, it’s imperative we look at the past. Black Ice is a worthwhile ice-breaker to that end.

If the kids give the movie its momentum, its fascination comes from a more static source -- the father.

A picture with pop's delicious energy yet none of its attendant risk, a flick that no one will love but everyone will like.

The acting is strong, but the uneven pacing means there is so much to absorb in the end, that it’s impossible to discern.

Smart and youthful, with a well-balanced package of humour, romance, crisp action and character-based drama, Star Trek gives popcorn movies a good name.

You’re so tense you’re almost nauseous, but it’s fun – that’s the place this smart new thriller will put you in.

Nothing much happens in this pleasantly casual 80-minute conversation of a documentary. It doesn’t come to you; you must come to it – like a Jim Jarmusch film, particularly his "Coffee and Cigarettes" from 2003.

Come for Phoenix, stay for Phoenix and maybe also Norman and Hoffman, the latter of whom bounces off of both her co-stars with a nervy charm. But everything else? C’mon.

With its bold screen-filling imagery, this is definitely a movie to be relished on the big screen.