Steven Boone

Filmmaker Nancy Buirski has an elegant, judicious way of imparting the facts of the case, taking not just the political temperature of the moment (boiling) but finely sketching the character and minds of the people involved.

I didn’t laugh once, but there were several lines that, in context, got a wide fool-grin out of me.

It's fortunate that, like "The Social Network," Dear White People is so charismatic in form and style that we easily forgive its surfeit of priviliged narcissists.

It's Glass who gives Visitors something like a structure, alternating between long, contemplative stretches and moments of ecstatic grandeur, like the crowd of sports fans who erupt in (extreme slow-motion) joy at some victory.

Lone Survivor burns with the fever of a passion project. Writer-director Peter Berg's gratitude to United States servicemen for all their sacrifice comes through viscerally, from first frame to last.

The New Rijksmuseum is a four hour procession of minute details, an exhaustive catalogue of art world diplomacy and process, but what sticks is the way Hoigendijk weaves all the strands together, crosscutting here, overlapping there.

When Melanie falls under the spell of a silver-haired pedophile as tall and trim as a Marine (Joseph Lorenz), the film gets set on its rocky path to a conclusion that fulfills the film's title and rounds out the "Paradise" series quite beautifully — if you're not afraid to look.

Sylvester Stallone can write entertaining formula action scripts like a demon, but he often hands them over to hack directors who don't know how to extract the pulp and the juice from them. On that score, Homefront is better than average.

Just over the Mexico/U.S. border from Juarez is El Paso, Texas, ranked the safest large city in America three years in a row now. The question that that fact begs is in part why this film is a quietly subversive masterpiece.

The trouble here is a lack of texture and urgency.