Droll, reticent, flawlessly filmed fable of generosity.

This is a tender, rapturous film, both joyous and melancholy, a reverie for a lost past and a door that opens to myriad imagined possibilities.

Cheers for a Cannes director who has infused his technical mastery with radiant life. In the Museum of the World of Wes Anderson, the dolls are dancing.

At every point, moreover, the actors are supported by Bergman's impressive cinematic skill. His script is a marvel of elision, speaking most eloquently in what it does not say. His photography is both poetic and worshipful. In every frame of the film the still light of subarctic summer silently instills an aspect of eternity, a sense of the presence of God.

What makes Sinners, set in 1932 Clarksdale Mississippi, so effective—so chilling, so hypnotic, and occasionally so grimly funny—is the way it yields to mystery, never seeking to overexplain.

Though the freckle-faced Reno and Mickey Rooney (as the horse's crafty old trainer) are well cast, their scenes together are perfunctory and impersonal. Emotions are provided in stead by a busy and overbearing musical score. The film's story begins to move in fits and starts.

Feldstein and Dever have a kind of mad, cartoon chipmunk chemistry, playing characters who know each other so well that they finish each other’s sentences and step on each other’s lines. What their friendship really needs is a little room to breathe. Booksmart is smart about that too.

Those moviegoers who have a taste for Wise Blood are not going to cavil about flaws. It is enough to ride the wild imaginative waves of this singular artistic adventure

Lawrence's style, naturally lit and roughly realistic, matches the writing. Lantana sometimes has the air of a routine police procedural, sometimes the quality of a dour film noir. But this movie, so alert to mischance and dreams that don't quite work out as they should, has a good soul, a heart yearning for decency.

Kevin Spacey (gives) a truly great performance.

All the actors in No Man's Land are wonderfully alive, fractious and unpredictable. Their performances also help break down the schematics and turn this into an emotionally potent, powerfully thoughtful and finally tragic experience.

Ironizes without parodying an antique screen manner, then reaches out from beneath this smooth cover to grab us.

One Flew over the Cuckoo 's Nest is an earnest attempt to make a serious film. But in the end the movie backs away from both the human reality and the cloudy but potent symbolism that Ken Kesey found in the asylum.

Like Space Odyssey itself, the ambiguous ending is at once appropriate and wrong. It guarantees that the film will arouse controversy, but it leaves doubt that the film makers themselves knew precisely what they were flying at. Still, no film to date has come remotely near Odyssey's depiction of the limitless beauty and terror of outer space. In this 2-hr. 40-min. movie, only 47 minutes are taken up with dialogue. The rest of the time is occupied with demanding, brilliant material for the eye and brain. Thus, though it may fail as drama, the movie succeeds as visual art and becomes another irritating, dazzling achievement of Stanley Kubrick, one of the most erratic and original talents in U.S. cinema.

Let’s call it a perfectly acceptable work of superfluousness.

While it’s all to the good that Drew Dixon’s story has come to light, it’s likely that Russell Simmons will always be more famous than she is. In another, more just world, it could have been the other way around.

A kind of mashup of "Our Town" and "Village of the Damned," the film is both draining and enthralling.

This is an imperfect film that still captures an elusive and incandescent vibe, as alluring as a strand of lights strung up for an impromptu concrete picnic.

It's Mescal who gives the movie’s surprise stealth performance.

Although Eggers is discreet – the things you don’t see are more horrifying than those you do – the picture’s relentlessness sometimes feels like torment. But if you can survive it, The Witch is a triumph of tone.

A fanciful film with the patina of hyper-realism, Looper is well served by actors who behave not as if they were dropped carelessly into the future but spent their whole desperate lives there.

For this movie stands to be something its predecessor was not, a megahit. And it deserves to be, for it is a remarkable accomplishment: a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore.

Disquieting and skillfully crafted thriller.

By the end of the movie, whether or not you're a member of Sinn Fein, the Brits' brutality toward the Conlons will get your Irish up.

Lowery can't always keep the movie from drifting through the mists of pretension, and the tremulous, too-precious score, by Daniel Hart, is sometimes intrusive. Still, the picture's visual imagery--the cinematographer is Andrew Droz Palermo--is so restlessly poetic that it's hard to turn away.

A thriller for modern women who identify more with the messiness of human lives than with flattened slogans about how great women, as a monolithic group, are.

"What can you say about a 25-year-old girl who died?" You can say that her movie, though soapy, is better than her silly book.

Surprisingly, improbably, The Bad News Bears is the year's funniest movie. It is very much like the team itself: no serious threat at first, but, finally, tough to beat.