Entertaining and surprisingly funny given the subject matter, the movie’s also an exquisitely acted affair paced by Chastain (who also produces), turning in a career-best effort as the complex Tammy Faye.

A rare hybrid that perfectly blends the dazzle of a futuristic action thriller with the intellectual substance of an art film.

While the ending loses steam as “Different Man” gets in its own bizarre head, the film maintains a certain heady, psychological trippiness.

Ahead of its time in its attitude toward unwed motherhood, director Otto Preminger's psychological drama has always gotten the same pro/con reaction that typifies Preminger's career. On the chilly side, it also has a great understated Olivier performance, an effective Paul Glass score and some of the era's best widescreen black-and-white photography. [28 Jan 2005, p.4D]

Washington has put together a troupe that crafts a retro story that’s still completely relatable, no matter one’s race, and brilliantly plays a protagonist that finds the sweetest spot between lovable and loathsome.

Farhadi's latest film is almost hypnotically compelling, spinning an intricate web of predicaments, emotional reactions and resolutions in a domestic drama that leaves the viewer reeling by its conclusion.

The special effects continue to be masterful, but villains are given a new twist, and Order of the Phoenix is all the more fun because of it.

It is that rare film that is equal parts entertaining, life-affirming and thought-provoking.

The satisfying and heart-wrenching climax is a last reminder that Caesar’s new adventure is one of this summer’s best.

A slow-cooked film that's one of the most heartwarming of the young year.

The laughs -- mostly crude, profane and drug-addled -- are almost non-stop.

Leisen's direction here is more than smooth. [02 May 2008, p.6E]

There’s no need to yearn for a female 007 or a woman Wick anymore – just hope for another film that’s all about Eve.

An untreacly family film is a true rare bird. [13 Sep 1996]

An artful blend of tenderness and sharp, clear-eyed observations. Its characters talk like real people -- who also happen to be smart, appealing and thoughtful.

Not only a stirring history lesson and an action-packed war film, Glory is also a ferocious statement about enduring discrimination that resounds today.

It’s an essential watch for every music fan, even if you’re not an Elvis junkie.

Men in movies are often just overgrown boys, and Seven Psychopaths is out to prove it - in the most twisted, hilarious way possible.

The filmmaker crafts an entertaining, immersive and ultimately optimistic spectacle that never forgets, especially at its ending, that humanity should always trump the system.

A stronger and tighter movie than its Oscar-nominated predecessor without losing any of its splendor.

To its credit, the ravenously awaited film version of Presumed Innocent should engross and reward two distinct audiences: Those who've read Scott Turow's 1987 best seller, and those who haven't. But remember: Engross and reward isn't quite synonymous with a cinematic trip to the moon. [27 July 1990]

While the film is not as resonant as the novel, it is an honorable adaptation, capturing the essence of the bond between father and son.

It's a touching story of Americana mixed with sibling rivalry, parental pressure and heart-wrenching despair, with a ripped Zac Efron in an amazing turn as the beating heart of a tight-knit yet troubled clan.

Exquisitely crafted...It’s a strange little amalgamation that totally works: a vicious Shakespearean satire about power-hungry mind-sets, stealth corruption, American ambition and the current state of divided affairs in our country, but also a quasi-fictional go-for-broke biopic about a political leader we really don't know at all.

Lots of sand but no day at the beach for its characters -- and not, from all appearances, the actors, either. Among the best of director Sidney Lumet's movies not set in New York. [08 Jun 2007, p.8E]

Director Jon Watts’ third Spidey film is a rousing entry that doubles as a love letter to the comic-book character, a film very much about second chances and a cleverly crafted reminder of that famous adage: “With great power comes great responsibility.”

Neil Young once said: It's better to burn out than it is to rust. But moviegoers are lucky Anvil didn't take Young's advice. Who knew heavy metal could seem like fine art when it rusts?

An exploration of where science ends and spirituality picks up, this second feature from writer-director Mike Cahill (Another Earth) is captivating, suspenseful and thought-provoking.