In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
A Wrinkle in Time’s by and large cramped worlds never look like anything other than animated projections.
Director Timothy Reckart’s The Star turns the greatest story ever told into just another kids’ movie.
The Immortal Life of Henrietta Lacks awkwardly and cumbersomely arrives at its revelations.
Ava DuVernay’s Selma paradoxically presents nonviolent civil rights protest as something akin to a military campaign.
What will make it essential for future generations isn’t mere flashpoint topicality, but the way it aligns an old struggle with a current one.
The Butler is likely to crack the Best Picture lineup, even if claiming the big prize is all but impossible.
Steve McQueen doesn’t seem to know the difference between the unflinching and the gratuitous.
The film’s box office and critical successes probably mean that its nomination haul won’t end with Blanchett.
With the film, Lee Daniels quietly pushes his talent for hashing out visceral, violent emotions into unexpected dramatic terrain.
What she declares about her craft is, thus far, the most telling element of the ever-chugging Beyoncé train.
Will the Academy really go for a star-free, Sendak-esque allegory, whose rugged charms are tied to its loose lack of answers?
Joe Berlinger’s Under African Skies is a positive breather after the heaviness of Paradise Lost 3: Purgatory
Disney de Sade, I think I’ll call it.
Princess and the Frog only intermittently delivers on its promise of glitzy and glamorous Princess bliss.
To call the Ocean’s films frivolous would be kind, implying that these arduous concoctions are somehow light on their proverbial feet.