It's a story languorously told in three chapters, the first two in the late 1980s and the third 15 years later. Each could be a movie unto themselves. Together they prove Cianfrance to be an effectively unobtrusive storyteller, crafting without artifice what book critics would call a page turner.

A feel-good movie in the most positive meaning of that term, thanks to the Motown music and O'Dowd's cheeky charm.

Star Trek VI: The Undiscovered Country is one of the finest installments in the saga. [6 Dec. 1991, p.5]

If he made The Ghost Writer under a pseudonym, it might be roundly hailed as the classy white-knuckler it is. But it's Polanski's name above the title, with his own ghosts haunting each frame.

The Runaways isn't just about rock 'n' roll; it IS rock 'n' roll, as loud, sexy, sometimes sloppy and ultimately exhilarating as the music can be.

This movie is a last chance to save the series, which it does.

A sensory and intellectual overload from start to finish, a brawny, brainy summer movie that may infuriate as many viewers as it enraptures.

There's no way to make this a feel-good movie, and admirably the Duplass brothers don't try. Cyrus finds its humor in dark places, through characters bringing out the worst in each other.

This summer's funniest movie.

The choicest performance in Animal Kingdom is Weaver's sing-song sinister matriarch of the Cody clan, a cheery sort with the benign nickname "Mama Smurf."

This is how a romantic vampire flick should work.

For the initiated, however, Alfredson weaves a tidy web from loose ends left dangling.

Megamind's Kryptonite is a common weakness for any comedy so fast out of the blocks: It simply runs out of surprises.

This is what the holidays need: a good, Swift kick in the funny bone.

True Grit is a very good movie that might be more embraceable if we didn't know who was pulling the trigger.

When she's (Hawkins) on camera, I'd swear the screen bends into a smile.

This is old-school monumental filmmaking, without CGI tricks or many soundstage comforts for a dedicated cast. David Lean would probably approve.

This movie embraces its inner yokel.

For two hours it's a fun head trip.

It's about time that another Scream flick came along to gouge the new cliches out of their sockets. Scream 4 does it in grandly Guignol style.

It's deja vu all over again in The Hangover Part II, only dirtier and more dangerous, if you can imagine that.

Like the genre's top filmmakers - the Coens, Polanski, Hitchcock - Capotondi builds dread with wicked winks at the audience, dropping subtle surprises along the way.

It works because Timberlake and Kunis are totally in control of their damaged characters without winking at the audience, as if to say: "Aren't we cute, behaving so naughty?" Their sex is amusingly awkward, and their repressed longings more so. It's the kind of chemistry that comes along once in a generation.

This movie, saddle sores and all, is a lot of fun.

Another Earth is stealthily effective, with silences often counting more than words.

In addition to being one of the finest golf movies ever, this film raises the bar on faith-based cinema.

Christensen plays him with Lecter-like intensity; the unsettling calmness of someone capable of anything.

Director Charles Martin Smith presents the kind of movie that gives squeaky-clean a good name.