Florence Foster Jenkins brims with love for its characters and forbearance for even their most blinkered self-deception.

Splash betrays a slightly drippy side, but by and large it's a refreshing plunge into unabashed romantic fantasy and not to be missed for the sake of John Candy, who hits the screen like a playful fat diver cannonballing off the high board. [09 Mar 1984, p.D1]

Remote Area Medical is an in­cred­ibly tragic movie. It’s also an important one, reminding viewers that America is more than its coasts and cities. There are corners of the country we all too easily forget.

Despite its missteps, The Farewell Party feels special in the way it covers the Big Stuff — love, death, friendship, family — without losing its playful streak.

The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.

It’s an exceptional film, not because of its protagonists’ impressive triumphs, but because it honors their struggle.

The subject is huge and worthy, and the film makes a noble effort to embrace some of its complexity.

Marshall keeps the film lean and focused. He does have a nice taste for horror imagery.

Clara Khoury delivers a performance that is luminous, fierce and intensely focused as the title character of Rana's Wedding.

For those who enjoy the shift-in-your-seat kick of seeing emperors caught with their knickers down, however, the squirm factor achieved by the Yes Men out-Borats Sacha Baron Cohen at his most confrontational.

A Perfect World is one of the Academy Award-winning actor-director's most unexpected, most satisfying films. This isn't the first time that Eastwood has turned the tables on our expectations, but he's never been this bold in the past, or this sure of himself.

As impressive as Dogman often is — not only with Fonte’s Chaplin-esque lead performance, a bleakly evocative setting and moments of winsome humor but with a standout canine ensemble — it never quite delivers on its initial promise.

Witty as they sometimes are, Romero's ironies aren't subtle or devastating enough to justify lengthy comtemplation. "Dawn" seems like a good 80-minute horror premise stretched out at least half an hour too long. Moreover, the excess running time appears to be filled by repeated shootings, clubbings, stabbings and munchings, always vividly depicted, rather than further character exploration or mordant strokes of humor.

It's a brilliant, profound movie, but it's almost no fun at all.

All about undertones, obliqueness and expectancy, about the scent, if you will, of something no one can stop

Much of it plays like an unintentional mash-up of the numerous wrong-side-of-the-law sagas that preceded it.

One could describe Boseman’s performance in Get on Up as electrifying, and that would not be wrong. But it’s more accurate to say that watching Boseman transform into James Brown, who died in 2006 at 73, is like watching a dude invent electricity while the idea for electricity is still occurring to him.

Steve McQueen’s “Blitz” is a triumph of production design; unfortunately, what it triumphs over is story.

It provides a sturdy, often exhilarating bridge between the present and a past that not only isn’t distant, but isn’t even really past.

Appealingly, the movie has a certain lightness -- like the aforementioned butterfly -- which makes its foreboding qualities surprisingly user-friendly.

There are some inspiring people in the film, and one wishes it had been edited to focus more on their stories. In the end, Tomorrow is less a movie than a long public service announcement.

Thank goodness, then, for The Brink, which is just the kind of lucid, observant, chillingly contradictory portrait Bannon deserves.

Rich, sweet, densely layered and deeply satisfying. A film that might have been a dry exercise in earnest nonfiction filmmaking becomes a soaring, artistically complex testament to survival, character and hope.

Shazam! operates as a thrilling fantasy and a comedy about the learning curve of growing up. It’s also a stirring tale of the heroic potential that lies inside each of us, if only we’re put to the test.

Political junkies will love this movie.

Humor and warmth abound in Mrs. Henderson Presents.

Though long on ambiance and short on story, it may appeal to the spiritually inclined -- and to oater lovers.

In any event, from whatever impulse, [Almodóvar] has given us a movie that is both an uneasy tribute to exiting with grace and a rationale for sticking around for one more movie, one more meal — one more day with the door open.

Little in this movie makes real sense; and characters (particularly Dafoe and Delany) seem to bump regularly into each other. But there's something transcendentally appealing between the lines. This is a film to be savored for its nuances rather than its story.

Perhaps the most pleasing aspect of the film is its fluid, unhurried pace. Rich and his team aren't interested in roller-coaster effects or sledgehammer manipulations. They have a lush, original sense of color, even a flair for the poetic. The score -- by lyricist David Zippel and composer Lex de Azevedo -- isn't terribly distinctive (it's probably the movie's weakest link), but there is a merciful absence of the hard sell in that area as well.

L’immensità lives up to its title: It’s a small but all-encompassing portrait of how life feels in a certain time and place — when the broken pieces of one’s true self are invisibly coming together, even when getting them to fit feels too overwhelming to contemplate.

“Strangers” offers an inspiring look at creative people from very different walks of life who nonetheless communicate beautifully with one another. They don’t need to speak a common language: Their dazzling music says it all.

Short but powerful drama.