Movies like Sleeping Beauty are as sensual as cottage cheese, not to mention passé.

It has warmth, humor and an understated sweetness that is not to be taken for granted.

A middling attempt to peek through a lace curtain for a glimpse of the other Upstairs/Downstairs staff members only leads to too many distracting social functions that fail to relieve the film's otherwise solemn pacing.

Jane Fonda's first French-speaking film in 40 years finds her leading a joyous ensemble of septuagenarians in a sweet, thoughtful and spirited examination of how to grow old with dignity and pride in a regrettable era when senior citizens have been reduced to the status of a political agenda.

It's still worth seeing for its two dazzling centerpieces.

It is all very-very-very entertaining.

Some of the on-camera bitchery between Mr. Ford and Ms. Keaton is laugh-out-loud witty. For the most part, Morning Glory is a delicious movie that will make you jump for joy.

It's one of those revolting, raunch-fueled movies churned out in their sleep by the Farrelly brothers and Judd Apatow that I usually hate, but with real cleverness, off-center wit and edgy imagination. Imagine an X-rated Three Stooges farce, and you get the picture.

Trading in her red locks for kohl-lined eyes like a raccoon and the vampire look of Rooney Mara in The Girl with the Dragon Tattoo, [Chastain] is the spookiest thing in Mama. Everything else is cable television.

It’s only April, but this is one of the best films of 2013.

I'm sure there is much to be learned from Forks Over Knives (the title means fruits and veggies can be forked, but anything you cut with a knife is lethal), but what does it have to do with real life?

Kristin Scott Thomas breathes new life into a woman who was invented by Flaubert and copied by Francoise Sagan.

As good as Citizen Gangster is, it would be even better if you could understand the dialogue.

There are some lovely and moving things here, but over the long haul it’s more like watching an hour and a half of someone’s weekend trip to Knott’s Berry Farm.

Everything works miraculously here, making Coco Chanel & Igor Stravinsky one of the most bountiful experiences of the year.

It just goes to show, no matter how burnished your backdrop or splendiferous your setting, if your script is crap, you're stuck with a total dud.

Like "Moneyball," this is real movie making that packs a solid entertainment punch.

The movie is about how he learns to show what's in his heart even when he can't find the spoken words to express his feelings aloud. Under the careful guidance of Mr. Nunez, Mr. Becker does both, in ways that reminded me of a Hispanic James Dean.

Unknown makes no sense at all, so you not only worry about Liam Neeson's judgment in movies, but you begin to wonder if he's forgotten how to read.

Johnny Depp is dismally miscast as the alter ego of the rebellious author with the "screw you" attitude.

There is plenty of excitement and pulse in Hereafter, as well as a reluctance to provide easy answers to life's great mysteries. I'm happy to see a great director take on the challenge of new and different material with his customary grace and impressive two-fisted technique intact.

The film knocks itself unconscious trying to be whimsical and offbeat, but is so contrived that it is as embarrassing as it is unfunny.

Redundant, unnecessary and a colossal waste of talent and money, you can pretty much sum up Man of Steel in the scene in which a lady police officer watches with her mouth wide open as Superman tosses aside tanks like Tinker Toys. “What are you smiling about, captain?” asks another cop. “Nothing, sir — I just think he’s hot.”

Almost three hours long, a lugubrious sludge of mud soup called Cloud Atlas deserves a limp nod for pure guts, I suppose, but what I'd really like to do is burn it.

This is one of the best movies of 2012. With rich performances, a riveting and articulate screenplay, meticulous direction and enough grounded emotional intensity to keep your pulse pounding, Hitchcock grabs you by the lapels like a suspense classic by Hitch himself - a knockout from start to finish.

In beauty, tone, technical achievement and cinematic artistry on every level, Hyde Park on Hudson is a movie unto itself - funny, believable, historic and hugely entertaining.

The actors are so good, though, that they make you want to see what they could do in a better movie than this tedious acting-class experiment.

This first-cabin director returns to top form, with this revelatory film his best in years. More than that, Mao's Last Dancer is a masterpiece.