'Captain Phillips' is thoughtful and electrifyingly exciting; 'All Is Lost' is Sisyphean hopelessness but also a Sisyphean defiance.
In this film slavery creates a hell in which everyone burns—blacks and whites, men and women, victims and victimizers, the well-intentioned and the malevolent.
As tearjerker banalities and bromides play out, on the visual side 'Gravity' compensates with a display of nearly overwhelming beauty and power.
'Prisoners' is a very good movie -- but not the minor masterpiece it should have been.
John Ponsoldt avoids triteness and makes you care; Cate Blanchett's operatic and annihilating performance makes Woody Allen's newest film a keeper.
Among the virtues of Ryan Coogler's film "Fruitvale Station" is the way he shows how numerous definitions of the word "tragedy" may apply.
'Hannah Arendt' offers an immersion in the world of postwar New York intellectuals; 'A Hijacking' portrays the travails of a cargo ship set upon by Somali pirates.
In many important senses, Baz Luhrmann has quite literally restored 'The Great Gatsby' to a Catholic setting.
A documentary on Ricky Jay, one of the great living magicians, and a feature in which four practitioners of the craft use their special skills to stage a heist.
Baz Luhrmann’s 'The Great Gatsby' proves to be a triumph of both faithfulness and daring. It conveys some of the novel’s glories and possesses virtues all its own.