Matt Damon, in the central role, confers a somber grace on a man who always thought he had none.

This wonderful little film, directed by Fernando León de Aranoa and set “somewhere in the Balkans” in 1996, is extremely witty and light on its feet, yet it manages to be thoughtful, even philosophical, in an absurdist way, about the roots of human conflict.

The sensibility of the earlier production has been transformed, despite Ms. Gadot’s continuing authority. Wit has been replaced by feverish caricature, feeling by sentimentality, and Wonder Woman is left with almost nothing to do for long stretches of a very long and disjointed story.

Grotesque doesn't begin to describe Ms. McCarthy's new character. Scarily insane comes closer; repulsive occasionally applies. Mullins's insanity can be extremely funny from time to time, but her anger grows as punishing for the audience as it does for the victims of her unrestrained police work.

Universal conscription for every able-bodied man from 18 to 40 is about to be instituted, and the events of this shallow, cheap and corny story seem unlikely to offer much in the way of comforting memories for those who get sent to the trenches.

Manipulative, but confidently so, and improbably but consistently affecting.

Sandra Goldbacher's gorgeous debut feature (shot by Ashley Rowe) stars Minnie Driver in a lovely performance as Rosina da Silva. [31 Jul 1998]

The whole film is an argument about nothing less than the future — can we fix our troubled world or not? But for all of its vaulting ambition, its sumptuous eye-feasts and its leapings back and forth in space and time, Tomorrowland never comes together as coherent drama in the here and now.

The movie blurs into a continuum of cars pounding one another and closeups of faces showing disgust, happiness, fear and outrage. It's the kind of shorthand imagery that works best in brief spurts, say, the amount of time it takes for a television commercial to implant a spark-plug brand into your brain. [5 Jul 1990, p.A9]

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.

I can't recommend it without reservation, but it's a must-see for those who have followed Mr. Troell's career, and a should-see for those who can look past its oddities to its cumulative power.

The power of the film lies in how it crafts excitement out of a granular understanding of Russian state brutishness and the degree of determination it will require to evade it. It will take a spy’s level of resourcefulness to emerge from the labyrinth, and Kompromat has the punch of a first-rate spy thriller.

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

Though the affair dragged on so long before Dreyfus was finally cleared that Mr. Polanski confines the resolution to an epilogue, he has nevertheless made an oft-told tale lively and urgent. “An Officer and a Spy” is Mr. Polanski’s finest work in many years.

Somewhat unshapely, though not shapeless; often repetitive; gleefully reckless with facts; probably too long (I say “probably” because I enjoyed every one of its 126 minutes); at times demandingly dense, with the kind of sizzling crosstalk that hasn’t been heard since Robert Altman, and as madly fragmented as its hero’s mind must have been.

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

Fresh and flip and enjoyable, it's a sci-fi-tinged romantic comedy that I urge you to seek out.

Feelings play second fiddle to stylized attitudes in Spartan, and fancy style can't conceal the film's clumsiness.

In her casually daring - and mostly endearing - debut feature, the Norwegian director Anne Sewitsky mixes and purposely mismatches light and dark moods to tell the story of a rural wife and mother looking for happiness in the wrong places, and finally in the right one.

Still, the two main performances count for a lot. Ms. Hayward, who was so endearing as Suzy, the tween lover in “Moonrise Kingdom,” is touchingly winsome as Iris, though she’s sometimes allowed or encouraged by her director to be busier than an actor need be. Ms. Liberato has the best of both worlds, and makes them better; a natural at comedy, she’s adept at serious drama.

I say don't bite unless your taste runs to thin gruel, and grueling gruel at that.

Bizarre and belabored, yet grimly fascinating.

Very funny and surprisingly likable until it goes Hollywood.

A heavier-than-air adventure, set in Victorian England, that seldom rises above the level of elegant hokum.

There are a few speedbumps of illogic along the gnarled route of Night Always Comes, but they can’t negate the pace of the storytelling, Mr. García’s gymnastic shooting, or the sense of there being no bottom to the well of darkness explored by Mr. Caron.

The action is impressive and the stars are personally as well as gladiatorially appealing, but the filmmakers seem to have shot the treatment instead of the script, or never bothered with a script.

Madagascar 3 is all about exuberant motion, cute characters and gorgeous colors. It aims for the eyes, not the heart.

All four performances are first-rate, and the action is staged with shattering intensity.