Barbara VanDenburgh

It’s a film that gets brilliantly to the truth of how and why we fall in love, and replicates that sensation — and the heartache that follows.

When it reaches its boiling point, Les Misérables absolutely roils.

It’s an unnecessarily complicated puzzle-box construction that only serves to cheapen the story and diminish its impact

The writing and editing aren’t up to the task of retrofitting Alcott’s straightforward narrative with a sophisticated chronology and rob it of dramatic tension in the process.

A Hidden Life is less a story than an experience, a spiritual journey made accessible through light and sound. Malick doesn’t transcend cinema. He sanctifies it.

Queen & Slim is strongest when it lets the images and the acting do the lion’s share of the talking.

It adds up to a marginally more interesting experience than the first “Frozen,” but this sequel would have benefited from venturing a touch further into the unknown.

The report is important. Its findings and the attempts to undermine them and the investigators, shouldn’t be forgotten. That The Report tries to keep these lessons in a fickle public’s consciousness is a good thing. If only anything committed to screen here were memorable.

It’s behind the wheel with Miles that Ford v Ferrari becomes a well-oiled entertainment machine, a thrill ride with a driver’s-eye view of the world’s most exciting track. Everything that doesn’t work is just a distant speck in the rearview mirror.

All pleasures in Last Christmas are as slight. Like the Christmas shop and its baubles, it’s shiny and attractive and intermittently distracting, but it’s all just so much glitter on cheap plastic. It’s angling hard for holiday cheer, but there’s nothing more joyless than forced whimsy.