Redford, who can’t avoid exuding charisma, plays this role with utter naturalism and lack of histrionics or self-regard.

This subtly engrossing psychological thriller plays like an intellectual version of Fatal Attraction, minus the sex and the dead bunny. And that’s meant as a compliment.

[A] wryly poignant and potent comic drama about the bereft state of things in America’s oft-vaunted heartland.

Sleek and engrossing, though awfully drawn out and short on psychological complexity, this is a straight-up police action thriller that adheres to a very familiar Hollywood template.

A lovely film that makes little emotional connection.

Heli is undoubtedly made with serious intent, but it is also relentlessly depressing and curiously uninvolving.

Barely managing to fill its brief running time despite its surfeit of smuttily vulgar gags, 3 Geezers! proves a less than subtle argument for euthanasia.

Might not boast stylistic expertise, but it should please aficionados while providing an entertaining primer for the uninitiated.

While it might not amount to epic animated filmmaking in terms of scope and invention, Epic, a 3D, CG adventure-fantasy from Blue Sky Studios, nevertheless makes for pleasantly engaging viewing.

Ambition markedly outstrips achievement in The Congress, a visionary piece of speculative fiction that drops the ball after a fine set-up.

Only God Forgives is a hypnotic fugue on themes of violence and retribution, drenched in corrosive reds.

Young viewers looking for unbridled raunch will be sadly disappointed, and so will other moviegoers expecting more than a few wan chuckles. This picture is like a brightly colored balloon with all the comic air seeping out.

The film repays patient viewing as it evolves into an engrossing, nuanced, philosophical drama.

This is a gorgeously made character study leavened with surrealistic dimensions both comic and dark, an unsparing look at a young man who, unlike some of his contemporaries, can’t transcend his abundant character flaws and remake himself as someone else.

One can reflect on what the young Coppola, with his masterful camera work and vivid imagination, might have done with such an opportunity. Unfortunately, the present-day one produces only tepid and tired imagery that would not earn high marks in any film school.

Lacking the objectivity or contextual analysis to more fully examine the important issues it raises, it’s a minor chapter in an unfinished story.

The ironies of Plimpton's life are handled delicately, made just obvious enough for viewers to mull themselves.

The scares are as hit-or-miss as the filmmaking in the second installment of the “VHS” found-footage horror anthology series.

Equal parts thriller and feel-good inspirational tale, 33 Postcards succeeds mainly in provoking the viewer’s sense of disbelief.

Depending on your age and memory, you’ll recognize cinematic DNA from everything from "Three Days of the Condor" to the "Taken" and "Bourne" franchises in this tale of a father and daughter on the run from an evil conspiracy.

Crude production values are a stumbling block for bare-bones tale.

Coppola’s attitude toward her subject seems equivocal, uncertain; there is perhaps a smidgen of social commentary, but she seems far too at home in the world she depicts to offer a rewarding critique of it.

No matter how silly and outlandish the action gets — and it does become ridiculous — it also delivers the goods its audience expects.

An above-average number of laugh-out-loud set pieces compensate for the resulting wobbly narrative.

Acted with smart restraint and shot with corresponding composure, this is a somber, slow-moving drama built out of small but acutely observed moments of naturalistic human behavior.

Von Trotta seems to borrow some of her subject’s haughty disdain for compromise in a serviceable script that does the job of telling us who Hannah Arendt was like a good pair of solid, gray walking shoes; there’s nothing fancy or modern to distract from the portrait of one of the most important thinkers of the century.

Augustine's script is a coherent and valid artistic reinterpretation of the case, told against an unfussily atmospheric evocation of late 19-century Paris - persuasive even though the dialogue seldom sounds particularly old-fashioned.

When a slasher pic can't exploit a woodchipper for more sadistic thrills than we get here, it shouldn't expect moviegoers to salivate for a sequel.