Even if you agree with the film’s argument that teenagers shouldn’t be locked up for life when there are other ways to save them, “Monsters” doesn’t offer a convincing argument that a screenwriting class is that lifeline.

Despite the movie's suffocating sense of chic Soho hipness, it touches on all the square cliches about the tragic life of the misunderstood artist.

By no stretch is this a disaster on a par with Lucas’s misbegotten prequel trilogy. Still, at least until its final section, Rogue One lacks the zip, zing and exhilarating sense of return to form that “The Force Awakens” conveyed so lightly.

Still, despite some distracting contrivances, Summer of 85 transports viewers to a place, time and feeling that feel altogether real, and not nearly as far away as they initially might seem.

Although the relationship lacks a certain fire, the acting is superb.

Tremors is a delightful throwback to such '50s and '60s films as "Them," "The Deadly Mantis" and "Attacks" of both "The Giant Leeches" and "The Crab Monsters."

Katheryn's summation was meant to be the final flourish, but McGillis gives a flat-footed performance. However, Foster overcomes McGillis' inertia, as the sweet-natured Sarah, a lonely little waitress who makes her home in a trailer park. Under her tight jeans and tough talk, she proves as fragile as a ballerina on a music box. Foster creates the ultimate victim without ever becoming a wimp, mixing dignity with defenselessness. The Accused must be acquitted of its misdemeanors if not for its good intentions, for this vibrant performance.

There’s lots to like about Soho’s constituent parts, but not much time to genuinely savor any of them.

For the most part, it's a provocative one-on-one between racial opposites Wesley Snipes and Woody Harrelson. Their relationship -- or perhaps, their ongoing collision -- is the best part of the movie.

A well-made, excruciating exercise in containment and sustained suspense. It's a breakout moment for Reynolds. Is it a fun hour and a half? No. But it succeeds within its own straitened contours. It's an intriguing squirm. Now, please get me outta here.

White Girl vividly charts what is at times a violent culture clash. But it is the young lovers’ desperate attempt to bridge the gap between their worlds that makes the film so deeply moving.

An engaging romance noir, a sort of updated "The Postman Always Rings Twice" that packs its surprises into four characters, none of them predictable.

If the point of the documentary is to make clear to viewers how special Walters was and how dynamic she was and how influential she was, it also made clear how irreplaceable she was, at a time when her talent at extracting information and confessions is needed more than ever.

Despite its austere beauty, elegant triptych-like structure and faultlessly disciplined performances, Camille Claudel 1915 still raises more questions than it answers.

The movie doesn’t always feel cohesive, but the stories are unexpectedly touching.

Going in Style is cautiously conceived, but it also projects a sincere human interest and reveals a command of intimate, subtle dramatization that is likely to prove Brest's artistic and commercial fortune sooner or later. [25 Dec 1979, C1]

A soulless replica of Don Seigel's 1956 model and Philip Kaufman's 1978 update.

For interested parties, it's entertaining to hear from, and meet, the people who live and breathe the politics of America.

Whether Whishaw’s version of the famous-blue-raincoated furry Londoner returns or he doesn’t, no one can deny that “Paddington in Peru” is smarter than your average bear movie.

Unfortunately, Desplechin stuffs too many subplots into the film, diminishing the power of his central conceit — that our most persistent ghosts are the living whom we’ve failed.

Ouija: Origin of Evil is, somewhat unexpectedly, not that bad.

Even as Cecil lives his life slightly adjacent to history, building a heroic film around him requires herculean effort.

Sure, Balzac meanders at too leisurely a pace. But the actors are charming; the story sweet

The story slows to a crawl toward the end, even with a scene featuring a carjacking. But in its relentless focus on Comer’s Mother with a capital M, as she is called, and her character’s almost primal determination, it gets somewhere that feels unforced and, however uneventful, real.

Potter-philes are sure to get what they want -- if what they want is, in fact, an exacting version of J.K. Rowling's charming children's fantasy. If it's enchantment they are after, that's quite another matter.

It's Hoffman's failure, though, that sinks the picture. He is working here with his usual meticulousness, but there's no relaxation in his performance, no sense that he has ever merged with his subject, that he has found Raymond's center and is simply acting out of it.

Everything is tearful confessions, angry interrogations and breakups. But there's nothing underneath.

Edwards and his collaborators have wisely chosen to give an audience just what it wants and expects from a Pink Panther film - riotous slapstick, spectacular stunts and Sellers in a variety of accents and disguises that give him free reign and lead to inevitable uproariousness. [19 July 1978, p.E1]