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Toronto Film Festival: Lions and Werewolves and Snowden, Oh My!
Veteran film critic Rex Reed navigates the best (but mostly worst) on offer at Toronto Film Festival.
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‘The Dressmaker’ Is a Dull, Plodding Import From Australia
Australian films are like wines from Australian vineyards. They don’t always travel. A bore called The Dressmaker is the latest example.
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The Weepy ‘Queen of Katwe’ Is Familiar But Touching
India’s Mira Nair pulls all the Kleenex out of the box for 'Queen of Katwe.'
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Peter Berg’s ‘Deepwater Horizon’ Never Leaves the Shallows
The cast of 'Deepwater Horizon' does yeoman work in roles that can only be called generic, but in the long haul they can’t save the script.
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Courtroom Crucifixion: ‘Denial’ Is Another Illuminating Performance by Rachel...
'Denial' is one of the most powerful and riveting courtroom dramas ever made.
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All the Ways to Love ‘All the Ways to Say I Love You’
It’s always thrilling to watch veteran actress Judith Light wear one of the many masks of comedy and tragedy in the trunk of theatrical disguises she uses to enchant, mesmerize and grip her growing...
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‘The Great Gilly Hopkins’ Is Delightful Fluff, and Not Much Else
Sweet but inconsequential, The Great Gilly Hopkins will satisfy family audiences and pre-teens with minimal demands for their money. It’s about a 12-year-old girl named Galadriel, whose irresponsible,...
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‘The Birth of a Nation’ Review: A Bitter (But Potent) Pill
Mired in controversy, hotly debated on moral grounds and plagued by mixed reactions since its early screenings on the film-festival circuit in Sundance, Toronto and elsewhere, Nate Parker’s violent,...
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Jonás Cuarón’s ‘Desierto’ Is a Breathless Chase Through the Desert
'Desierto' is a nail-biter that exposes the hazards of immigration from the side of the victims.
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‘Certain Women’ Is Filled With Interesting Performances That Never Connect
'Certain Women' is the latest thumping bore from Kelly Reichardt.
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‘Coming Through the Rye’ Is a Rich, Heart-Warming Search for Salinger
'Coming Through the Rye' is a tender, sensitively made feature-film debut by James Sadwith.
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The Irving Berlin Jukebox Musical ‘Holiday Inn’ is as Sweet as a Sugar Plum
'Holiday Inn' is a nice, entertaining, totally derivative but heartfelt musical eggnog without much originality but plenty of energy.
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Ewan McGregor’s Roth adaptation ‘American Pastoral’ Should Have Stayed On the...
When will ambitious moviemakers learn that Philip Roth novels do not translate comfortably to the screen?
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X-Rated Romp ‘King Cobra’ is More Tedious Than Titillating
'King Cobra' is a cut above most homoerotic masturbatory screen fantasies, but not by much.
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‘The Whole Truth’ Is a Mind-Numbing Courtroom Cure for Insomnia
An abomination called The Whole Truth is a courtroom movie starring Renée Zellweger’s new face and Keanu Reeves.
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‘By Sidney Lumet’ is a Personal, If One-Sided, Look Into a Brilliant,...
'By Sidney Lumet' is a showcase for the director's candor, intelligence and moral turpitude—not to mention his ability to talk nonstop.
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Not Much of ‘A Life’: Adam Bock’s Off-Broadway Bore Is Dead on Arrival
'A Life' makes not one lick of sense. It’s only 85 minutes long with no intermission but seems like a week at hard labor.
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Stop the Presses: Old, Tired ‘The Front Page’ Limps Back to Broadway
Broadway's 'The Front Page', with John Goodman and Nathan Lane, is directed with forced energy that makes it feel phony as a wooden nickel.
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‘Bleed for This’ Is an Honest, Compelling Chapter in Sports-Movie History
It’s so well made that 'Bleed for This' won me over despite my aversion to timeworn sports pictures.
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Mel Gibson’s ‘Hacksaw Ridge’ is the Best War Film Since ‘Saving Private Ryan’
'Hacksaw Ridge', directed by Mel Gibson and starring Andrew Garfield, is the best war film since 'Saving Private Ryan.'
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