Like the movie as a whole, she (Judy) is funny, sweet, sophisticated and adventurous.

The film, though lush, thoughtful and at times affecting, never fully escapes a certain therapeutic mode. It doesn’t depict life lived, exactly; it depicts life theorized.

The best part of Red is the spectacle of terrific actors being terrific in novel ways.

A rehashing of decades-old race relations in New York, or anywhere in America, might seem superfluous given more recent events, but Mr. Muhammad’s point isn’t to stir up anger. It’s to decry damage—the waste of a promising young life and the collateral wreckage visited upon a family and friends.

We can all see where this is going. In fact, if it didn’t go there we’d feel cheated, even though the route—as navigated by writer-director Aline Brosh McKenna, who wrote “The Devil Wears Prada” and co-created “Crazy Ex-Girlfriend”—is as roundabout as the performances and casting are straightforward.

An unusual amalgam of formulaic feel-goodism and shocking tough-mindedness, a movie that allows us to decode the inner life of its hero while he's decoding the world around him.

A valuable film, provided one doesn't ask too much of it.

There are clashes of philosophy and practical action that need sorting out, and After the Bite treats both sides with respect.

What the film does best is document the lengths to which people are going to protect themselves -- subcutaneous microchips for identification, ever-heavier armor for fancy cars.

The clash Mr. Roberts devises between the lunchbucket blues of operating a crane at a shipyard and the dazzle of big-time sports raises pertinent questions about the relationship between vocation and avocation, about where we truly locate meaning in our lives, especially as time grows less disposable.

What's remarkable, though, is how Ms. Bier's film, in Danish and English, finds beauty in its quiet moments, which are many and close between.

Disney’s new live-action version is for the most part beguilingly good, even though it’s no replacement for the studio’s 1950 animated classic.

What makes the film valuable is its focus on Justice Ginsburg as a champion of women’s rights.

May be something of a stunt, but it's a fascinating stunt that holds your attention from the start to shortly before the finish.

Cheerfully horrifying.

The story's literary underpinnings are hilariously represented by the denizens of a seedy writers' retreat situated near Tamara's old house, which she has come back to reclaim after her mother's death.

The film gives no reason for optimism in the urban warfare it portrays, but its heart, head and sharp eye are in exactly the right place.

Blunt, brassy and chatty, she makes for a refreshingly open host of her own life story.

Star Trek Beyond is better than not-bad. By any earthly standard it’s good.

It's all rather amusing, but after awhile you tire of all the perfect little nuances about characters who seem like prototypes for a certain type of Victorian novel. [6 Mar 1986, p.23(E)]

There are degrees of villainy in “Operation Varsity Blues,” but it’s hard to peg the privileged, bribe-paying parents as the worst of a bad lot. Besides, they have to live not just with their criminal convictions but with those wiretapped conversations, in which they reveal what they really think of their own children.

Feast for Rolling Stones fans.

A seasoned director might have known when to ask Ms. Theron to do less, or nothing at all; as things stand, she acts at every single moment. But what brave and ferocious acting she does.

Touch is a worthy consideration of the things that matter most when the clock is running out, but it could have been more focused.

Given the nature of the production — it was made for grownups, not children, in an era when life moves much faster than it did in Mr. Rogers’s day — sticky sweetness threatens at every turn, along with naked contrivance. Yet the movie bets on goodness, and wins.

You'll miss out on some really great stuff if you don't see this surprising movie.

This ambitious, entertaining movie, which showed at film festivals earlier this year, has been hailed in some quarters as a masterpiece worthy of Arthur Miller's Willy Loman or Sinclair Lewis's George Babbitt. Yet its social comments are stained by condescension, and its uplift is sustained by sentimentality that Mr. Nicholson's prickly Everyman can't conceal.

Finally seems like a bit of a con in its own right, but a marvelously smooth one.