This is a story of family and of friendship, with enough humor to keep it from getting too sappy and enough restraint to keep it from getting too sophomoric.

The movie, though quite funny in parts, turns organically dark, and it refuses to paint a picture of a cotton-candy world. It prefers the real one.

Taking its cues from the religious severity of the community in which it’s set — and the London weather — Lelio’s latest film is austere, deliberate and rather chilly.

Something to get excited about.

An edgy, irreverent, thoroughly winning comedy.

You have to see this to believe it.

Malkovich's lead performance digs in its heels, deadening the movie's speedy exhilaration. The result is a highly diverting but ultimately unsatisfying production that doesn't perform -- so much as paraphrase -- the script.

Cousteau is a thorough if somewhat by-the-book profile of a pioneer in the field of marine ecology and an activist for better environmental stewardship.

Amusing and even edifying, although it is also unlikely to make converts out of those who just don’t get Zappa’s pastiche of juvenile parody and sophisticated songwriting, derived from rock, jazz and 20th-century experimental music.

How do you make a movie about this story? Do you spin it as a thriller, a true-crime drama, a horror film, a sick pop-culture joke? Actress Anna Kendrick, making her debut as a director, does something fascinating. She juggles all four and then adds a fifth layer undergirding the others: the unceasing dread that comes from being a woman who knows men like Rodney Alcala are out there.

Working from the script by Jeff Maguire, director Wolfgang Petersen ("Das Boot") plods through the narrative as if he were completely unconcerned with giving it even a semblance of credibility.

This bracing movie...gets off to a spirited start and rarely lets up, sharing with viewers a little-known chapter of history as inspiring as it is intriguing.

Intriguing, marvelously inventive documentary.

One of the best little slice-of-contemporary-Americana pictures to emerge from Hollywood in recent years. [01 July 1984, p.F1]

Joins such wonderful recent films as "The Lives of Others" and "The Baader Meinhof Complex" as a clear-eyed portrait of a highly charged chapter in Germany's history, a history that once again proves rewarding fodder for an alert artistic imagination.

Eminently watchable thanks to strong performances from its three leads (McKellen, Redgrave, Fraser).

Writ small, Golden Door is an absorbing and moving love story; writ large, it's the story we've never stopped telling ourselves.

Fiddler’s Journey aims to tell a story that delves into more than creative and technical details. Although it is also about those details.

For a movie about a groundbreaking gay rebellion, Stonewall Uprising plays it much too straight.

It's a smart, bold genre exercise that's enormous fun to watch, harking back to gritty urban thrillers of the 1970s with an assured sense of tone and style.

He was many things, the documentary reveals, but self-serious was not among the late writer’s lengthy list of descriptors.

For those seeking further insight into this sliver of Ali’s remarkable career, “Trials” is as comprehensive as it gets.

Miss Hokusai is more adept at delivering beautiful visuals than anything deeper. That’s perhaps not all that ironic, given that the movie’s portrayal of Hokusai is as a man who valued art above all else.

Even at its most troubling, Cyrus is powered by a deep vein of humanism, one that offers hope to even the weirdest among us.

It is through the genius of Frears, screenwriter Jimmy McGovern and this talented cast that Liam lets no one off the hook, least of all the audience.

The path taken by the film is somewhat labyrinthine and obscure, but it offers enough rewards to counterbalance its frustrations.

Feelings of displacement — of loss of home, country and language — are balanced by the vivid imagination of a better existence. In other words, Radio Dreams is a quintessentially American stor

Beecroft’s screenplay — which the actor turned filmmaker wrote after moving in with Tabatha and Porshia, off and on, for three years — is not as strong as her visual storytelling. Some of her dialogue trips over its own bootlaces.