Michael Wilmington

Elaborately mounted, expensively produced and filmed with style and empathy, its an adaptation of Patersons Newbery Medal-winning book that manages to expand the original vision, yet preserve much of its intense emotion.

Notoriety, they won. The revolution, they didnt. That perhaps is the secret message of the film. Dylan was right. You dont need a weatherman to know which way the wind blows.

This is a movie for all cultures and all people, for families and especially for those who have lost them.

An extraordinary work, grandly conceived, brilliantly executed and wildly entertaining. Its a hobbits dream, a wizards delight. And, of course, its only the beginning.

The movie doesnt deserve any of the talent bestowed on it, from Reiners amiable direction to the occasional grace notes in the performances of Hudson, Marceau and David Paymer.

The story is engrossing, full of thrills and humor, the period re-creation wondrous and the pace intoxicatingly brisk. And the actors are all so good and their parts so well-written that were engaged emotionally as well.

A gargantuan epic, a historical adventure-drama of overwhelming visual grandeur.

Riding Alone for Thousands of Miles

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The movie looks like far more than a million dollars and it offers the kind of smart, picaresque good time you get from books like The Reivers and Huckleberry Finn and movies like Bronco Billy and Bonnie and Clyde.

A great movie on a powerful, essential subject — the Holocaust years in Poland — directed with such artistry and skill that, as we watch, the barriers of the screen seem to melt away.

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Has the kind of super-cinematic qualities and bravura acting that make up for almost anything.

This seems to be a movie made by people who love the old classic movie swashbucklers but dont have a clue how to make or modernize them.

Ashley Judd as Agnes White, and a relative newcomer, the remarkable Michael Shannon, as Peter Evans. Theyre both spellbinding.

Best of 2017: Film Awards and Nominations

An odd little ghoul too cleaned up to survive, a bloodless vampire movie thats mostly lifeless as well.

So intense and warm are Leighs feelings for his characters, that we may remember Hannah and Annie long afterward as old friends — imperfect yet lovable, pals with whom weve suffered and laughed a lot.

A film that art-house audiences in 1959 loved madly. And who can blame them? A buoyant, searingly colorful retelling of the Orpheus and Eurydice myth set in Rio de Janiero, writer-directors Marcel Camus movie is a romance heightened by its backdrop.

This young writer-directors film seems more real and more moving than many recent political dramas from the Middle East – on either side.

Russian Dolls, like LAuberge, has an excellent cast (mostly the same one, in fact) and an impish style and speed that gives it more obvious audience appeal than the average French film.

This centurys Planet of the Apes is a rouser, a screaming-banshee fun house.

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Like the moving 1999 American A Walk on the Moon, with Diane Lane and Viggo Mortensen, Hard Goodbyes juxtaposes a family crisis with the excitement of the period before and during Neil Armstrongs 1969 moonwalk.

Sometimes cinemas highest achievements become clear only in retrospect. Days of Being Wild–now clearly revealed as one of the peaks of Hong Kong filmmaking and a masterwork of contemporary cinema giant Wong.

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For a film that points out so much wrong with German society and shows such dubious, dangerous behavior, it leaves the audience with high spirits and a sense of crazy exhilaration.

The Lord of the Rings: The Fellowship of the Ring

Its a movie that robs the story of its politics and point and never really matches the charm of the 60s film.

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Trashy and glorious, the restored Metropolis is a pop epic for the ages.

Shines whenever we see the performances of Phoenix and Caan.

Its a real disappointment: too hasty, too scattered and superficial, and, in the end, disappointingly sappy and sentimental.

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A classy supernatural lady-in-distress thriller.

These are real characters, fully observed, gutsily written, beautifully acted by the two leads.

Hobbled with pedestrian direction, a dull visual style and a last act awash in obvious bang-bang melodrama.

Episode Review: Better Call Saul Season 4 Finale

One more movie comedy about how love can turn you into an idiot. And its major flaw, among many others, is that the idiocy takes over the movie.

Viveka Seldahl and Sven Wollter will touch you to the core in a film you will never forget — that you should never forget.


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