A cry of anguish for the youngest victims of every war.

The main reason to see Bandits is celebrity actors riffing with each other. That's not a bad reason, though. These two actors are also skillful comedians.

There’s too much plot for the film to manage, but its heart, and sumptuous art, are so firmly in the right place that its appeal comes through sweet and clear.

There's no deeper meaning to Steven Soderbergh's thriller than what meets the eye, yet its lustrous surfaces offer great and guilt-free pleasure.

The most intriguing question it raises is whether our feelings about Vermeer may be changed by the likelihood of him having used optics of one sort or another. The answer is yes, unavoidably, but not necessarily for the worse.

This beautiful film celebrates a deeply good man with a great gift for repairing.

A visionary tale -- bleak but visionary all the same -- of a fragile civilizing impulse crushed by family loyalty and a lust for revenge in the vast Outback of the late 19th century.

Directed and written by Kelly Fremon Craig, it’s a charmer: sensitive, funny and grounded. It’s also a kind of rebuttal to many woeful cinematic trends, foremost among which is dishonesty, or lack of verisimilitude.

Coco is played by Audrey Tautou, and she's phenomenal--self-contained, tightly focused, sparing with her smiles, miserly with her joy, often guarded to the point of severity, yet giving off a grave radiance at every moment she's in front of the camera.

It's a trip into a primordial world and primeval sensibilities, and if you're looking to shake off the mall-movie blahs, there are few better places to look.

The Trip is probably too long, but I have to say "probably" because I would have been happy with an additional half-hour of Steve and Rob doing more impressions.

You’d be unwise to look to the movies for economic insight—this one amounts to an extended fatuous argument that an individual who behaved like a corporate restructuring would be a psychopath. But among contemporary socio-economic parables, Mr. Park’s latest is an amusingly cutting one.

Adaptation, like "Being John Malkovich" before it, is far from a well-made film, even on its own flaky terms. But it's a brave, sometimes brilliant one, with a phantasmagoric ending, full of love and hope, that defeats prose description. Never was an adaptation more original.

Don't miss an opportunity to see Mad Hot Ballroom, though. It will sweep you off your feet.

It’s a great story told well, for the most part, and exceptionally well through Meryl Streep’s Katharine Graham

Once the two rovers landed, three weeks apart, problems that had never been confronted before in the history of humanity started to become routine occurrences. So did solving them, and the documentary is a warm and well-earned tribute to the brilliant scientists and engineers who did so.

Elegant and sometimes inscrutable.

Lost in La Mancha, a documentary about a movie that never got made, is more involving -- and heartbreaking -- than many movies that do get made.

I can't begin to count the ways in which The Savages pleased me, but the very best of them is the way Tamara Jenkins's comedy stays tough while sneakily turning tender.

Mr. Haigh’s previous feature was “45 Years,” a drama of marital distress, starring Charlotte Rampling and Tom Courtenay, in which the strongest feelings went unspoken. The words in his new film are pungent in themselves, but they’re given greater power by Mr. Plummer’s remarkable performance.

The sparkle is what's been missing in the star's (Cage) recent performances. What's not to love in a movie that transmutes Terence's moral squalor, and the squalid state of post-Katrina New Orleans, into darkly comic gold?

This fine debut feature by Elizabeth Chomko dramatizes well-worn themes — degenerative illness, family dysfunction, anguishing choices to be made in the face of implacable decline. Yet the cast is exceptional, the performances are extraordinary, the writing and direction are heartfelt, and the film is, consequently, stirring, frequently funny and consistently affecting.

On screen it looks crazed, but the comic energy is huge, if indiscriminate, and Mr. Sandler's performance -- think Topol doing Charles Boyer -- can be as delicate as it is gleefully vulgar or grotesque.

As the title suggests, this isn’t a film focused simply on the ruins of a relationship so much as one with an eye on what’s worth keeping.

The film isn’t just about their search for love and the vagaries of modern dating, but the craziness of life as it’s lived by passionate, gifted people with insufficient channels for their passion and shabby containers for their gifts.

The images captured by the film - dancers in theatrical sets, dancers in surreal exterior settings - are deeply scary for their loneliness and pain, and crazily thrilling for the intensity of their joy.

Boils with humor, surprise and dramatic energy.

Documentarian Nanette Burstein has a wealth of photographic material at her disposal, much of it breathtakingly lovely, and she uses it gracefully and in the noble cause of forward motion.