Matt Zoller Seitz

No new cinematic ground is broken here, and sometimes the narration strains to make Shantha’s story illustrate a larger point or articulate a unifying principle. But the sincerity of the exercise wins out. This is a loving portrait of a good man and, from all appearances, a daughter who carried her father’s values forward.

When “Motor City” lays off the jukebox approach and lets score composer Steve Jablonsky take the lead with his rumbling, shimmering synth work, the movie is intoxicating and unstoppable.

Was there no one in this man’s circle imbued with sufficient trust and authority to take him aside and warn him that buffing one’s own halo isn’t good PR?

The interplay of chance and fate is a through-line of this 172-minute IMAX epic, which feels shorter, thanks mainly to the impressive ability of Nolan and his regular editor Jennifer Lame (who won an Oscar for cutting "Oppenheimer") to make time seem elastic.

This is a gentle, attentive and moving work of art about an artist.

Night Nurse, about a senior citizen in a luxury elder-care facility and the nurses he enlists in a scam, is a dreamy, sinister yet strangely tender movie.

It’s good—not a knockout by any means, but a modern example of the sort of movie that used to be a permanent asset in Hollywood’s studio portfolio: a well-crafted but accessible biopic about the maturation of a person who helped shape the nation’s image of itself.

It’s no classic—it fails to develop many of its most promising themes and ends just when it’s really starting to cook—but it’s clever, sincere, and genuinely funny, and will be endlessly rewatchable to anyone that clicks with it.

It starts out trying way too hard to impress us, then settles into an easygoing, authoritative groove where you forget you’re being told a story and feel like you’re just watching people exist.

This is a whooping-and-hollering movie. It’s more than satisfying. It’s bloody heaven.