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It's a thriller devoid of thrills, and the main reason to watch is curiosity about what "The Walking Dead's" Steven Yeun will do with a major film role. (He's OK.) "Burning" plucks a few key aspects from Murakami's short story, but doesn't do it justice despite taking hours longer to watch than the story takes to read. The ending, especially, seems ridiculously wrong. The lead character seems like a dullard, not the intelligent young man one pictures in the story. The South Korean setting is interesting, though.

God knows Glenn Close deserves an Oscar: Bad luck that among her memorable performances like The Big Chill and Dangerous Liaisons, she was up against the likes of Meryl Streep in Sophie's Choice and Cher in Moonstruck. But her expressive face is the best thing in this soapy story, about her travails with an egotistic husband and whiny son. Worst are the hints that she's really a great talent herself. If that's true, and she's such a noble individual, why didn't she write her own best-sellers?

Everyone has mad respect for Alfonso Cuaron, for good reason ... and I think that's part of the critics' love for this film. It is his very personal, touching memoir of his own childhood, filled with evocative details and oh-so-arty in black and white. I enjoyed the slice-of-life aspect of it, but was distracted by the fact that the lead actress can't act. At all. It's a completely wooden performance, and it really stretches credulity that she was nominated for an Oscar!

This is a tense, exciting movie, made all the more interesting by the fact that it originated with the stories of people who actually were there in Benghazi. The action/combat/fighting scenes are stunning and it's filled with excellent actors. A weak spot is the script, which is pretty lame at times. (One character says, for example, "As far as I'm concerned, this isn't over till it ends." Haha.) But hey -- it's a Michael Bay movie. Still worth seeing.

Action sequences in this latest M.I. movie are fantastic -- and achieved without a lot of the slow-motion trickery used in some films like this. It feels looooooong at 2 1/2 hours. Tom Cruise's physicality is superb, as usual, but not much else was demanded of him. (He's capable of better acting.) My millennial-age son liked it a lot, but we both agreed that even for an action flick, there was a disappointing lack of wit or humor. None, really.

I like the concept of this movie -- end-of-life reflections, regrets and questions. And the cast is stellar. But so many aspects of it are just wrong somehow. Claire Danes not looking at all like someone who would age into Vanessa Redgrave, CD as a singer, Toni Collette (who's pushing 50) mismatched with her younger lover, the cliche of the troubled young drunk who's secretly gay, the vacuous wealthy. Most of all -- nothing against Patrick Wilson, but his bland, colorless, impassive countenance is grossly incompatible with the idea that everyone who encounters him is immediately fascinated and in love. Atmospherics of the movie are nice, though. Fans of Hallmark movies might enjoy it a bit.

Can totally see how some people wouldn't care for this film, but I think getting lost in the melancholy depth of it -- then talking it out with someone who also was paying close attention -- would make all the difference. Used to have a friend who was the best movie-going buddy ... game for almost anything, hours of discussion later. Wish this person were still around. My own takeaway: Not that you want to "haunt" anyone, but to linger in someone's memory ... yes.

I'll admit it: Part of the fascination of this film is knowing the backstory and being amazed at the way Christopher Plummer's performance was added in at the last minute. But along with all that is a fascinating story, well-acted, especially by Plummer and Michelle Williams. The tension is palpable and the slice of life of the super rich is eye-opening as well.

Wow, this doesn't even make the critics' top 100? That's surprising, considering Gary Oldman's amazing performance. If you appreciated "Dunkirk," definitely see "Darkest Hour" as a behind-the-scenes, "other side of the story." The majority of the movie -- dimly lit and talky, sort of like "Lincoln" -- is probably more "interesting" than "exciting." But the dramatic payoff brought a tear to my eye.

The rough language and explosive violence in "Three Billboards" -- plus the weirdly placed bits of humor -- made this an intense moviegoing experience. If you're up for that, it's a satisfying experience as well. Frances McDormand's bravery as an actress is stunning. I especially liked the way the story developed: Could have been completely hopeless and depressing, but it isn't.

Saoirse Ronan gives one beautifully transparent performance after another -- whether playing a confused/conniving younger sister or a trained assassin. So I like what she brings to this, and there's a "real" feel to the other acting, as well. However, it brings nothing new to the coming-of-age genre. I also feel there's been too little mention of the downright abusive nature of the mother's (Laurie Metcalf) behavior. You HOPE the girl will get away!

I'm not sure any gunslinger Sam Elliott has played in the movies was any braver than Elliott himself was in playing this part. Also not sure how many people want to see a film about an older guy just diagnosed with pancreatic cancer. (Not a spoiler; we learn this right away.) It isn't a depressing film, honest. But while Elliott and his character are early 70s, when you see him from behind -- white hair, scrawny frame, neck skin with tire tracks in it -- he could be 99. Elliott portrays an actor who naturally is quite privileged, despite not getting calls for movies anymore. Yet his late-in-life struggles and insights have a universal quality one can identify with (say, at middle age or later). There's a scene with Katharine Ross --his real wife, playing his ex-wife -- that is beautifully subtle. Not sure about the 30-something girlfriend who turns up, but she quotes Edna St. Vincent Millay so I'll give her a pass.

As "dead tree journalism" fades, it's interesting to think of how many people used to say, "I only keep subscribing to the paper because of the obits." Of course, that's only till they learn how to read them online for free. Still, almost everyone is a **** for a well-written obituary, and this documentary is a pretty good account of how one is produced at a major paper that really cares about them. Amid the sometimes amusing anecdotes from these writers who deal with death on deadline, it's good to see how seriously they take the job of summing up a person's life. We'll miss them as the process devolves to just listing various celebrities' "memorials" to the departed on Twitter.

Evidently poor Emily **** came from a family of neurotic, sickly, pedantic sad sacks. It is amazing that she managed to write any poetry at all, let alone her huge collection of wry, clever, sometimes depressed but always clear-eyed verse. I don't doubt that life in her smothering family, during this time period, was rather grim. See also: the Brontes. But this tedious film really does not explore where all that wonderful poetry came from, probably because there are limits on what's known about **** for sure. Worst of all, there isn't much of her poetry here! And a scene in which she spouts her "I'm nobody/Who are you?" verse to an infant nephew is just cringeworthy. Cynthia Nixon waxes hysterical, but who wouldn't? On the upside, it's always delightful to see Jennifer Ehle, in anything (playing E's sister).

This is a good movie to go see with your elderly mother. (Hey, it's the holidays.) There's gorgeous scenery and costumes, some wonderful actors, and a mystery -- at least, if Mom doesn't recall whodunnit from the book or the 1974 film). As a nonfan of Agatha Christie, I enjoyed it despite what to me is a ridiculous ending. It could have used more humor, although Branagh's mustache has some amusing scenes.

As with "The Hurt Locker," Jeremy Renner gives a performance here that's incredibly real -- but in a film so intense, I probably won't see it twice. (Anyone else think he's underappreciated, for some reason?) The cinematography is captivating, the vast snowy vistas contrast with people's grim lives on and off the reservation. You know there's a deeper tragedy in Cory's life beyond just being a divorced dad with a lonely job, but you get to those deeper layers slowly. Supporting cast is excellent. I like Elizabeth Olsen -- she says a lot just with her eyes -- but can't imagine any FBI office sending this young woman into this situation, and feel an actress with more grit would have been better in that part. Overall, though, a stunning film that stays with you.

Discovering that the lead actress was Debra Winger was shocking to me. I'm sure she looks great in real life, but in the film she seems so old and tired -- despite a percolating love life with a lover played by Aidan Gillen! She's a good metaphor, though, for her old and tired marriage, which both she and her husband are having a hard time ditching. A French version of this film would have a lot more wit and insights, and some aspects seem improbable. Still, you might find it interesting if you like relationship dramas.

Many scenes in this stylish film leave you asking "why?" -- but not necessarily in a good way. Why does it end as it does? Why did Amy Adams' ex-husband send her a manuscript of his disturbing novel? Why was Tom Ford compelled to open with an awful, extended scene of morbidly obese women dancing nude? For a while, the story-within-a-story approach is interesting: It's also fiction-within-nonfiction, and you wonder how the ex-husband's novel links to the couple's past (and future?) relationship. But that's just one way the storytelling breaks down: There seems to have been much less attention paid to vital plot connections than to Amy Adams' hair and makeup. Keeping this in the "yellow" section just for Michael Shannon's performance, intensely terrific as always.

This movie is beautifully shot. The images compensate somewhat for the wretched acting, lack of character development and predictable plot. Almost all of the focus is on Ben Afleck (who unfortunately is at his most bland and vacuous). Villains, sidekicks and female characters get very little to do, so when they disappear or die, ho-hum.

Scanning the reviews of "Paterson," I felt like I was the only person who watched it with growing dread ... with images of "The Shining," "The Machinist," "Fight Club" and other films that led to alternative-reality craziness. Whew! The superb Adam Driver isn't crazy here. Just deeply immersed in a poetic internal life that he allows to surface via a few human contacts and mostly, in his extraordinarily expressive face. Mysteries linger. WTH do all the twins mean??? But even if you're not a fan of the type of poetry featured, the film is thought-provoking and haunting.

Subtle, understated and bleak, this is another story about the intersection of music and addiction. It doesn't quite paint a complete picture of either, in Chet Baker's case. But Ethan Hawke gives his usual stellar portrayal of nervous energy, insecurity and underlying pain. A brief view of his family back in Oklahoma hints at the origins of all those ... not that it mitigates the frustration you feel at another tremendous talent ravaged by addiction. Haunting though it is, I don't think the music in the film matches up to Baker's. But its greatest achievement might be sending people to Baker's recordings -- or at least to YouTube -- which I promise you will be a beautiful, if melancholy, experience.

I found this long-awaited Scorsese film riveting, thought-provoking and profound. Having spotted its appearance on cable-on-demand, I feel I finally found the movie I would have rooted for during the Oscars! (Where it was ignored -- too little inspiration for political cracks, I guess.) I disagree with some that you'd have to be a religious believer to appreciate it. But I do think it'll be more interesting to those who have thought about spiritual issues ... whether they ended up embracing faith or rejecting it. Superb acting, and it's visually haunting, as well.

I usually like Annette Bening, but found her character in this movie incredibly annoying. Half the time she's spouting world-weary wisdom; the other half, she's so inexplicably dopey, you want to dump a bucket of coffee on her and tell her to get a freakin' clue. (Also distracting is the fact that she's supposed to be 55, but looks 70.) The whole idea that this mom is on the one hand such a liberated open-minded feminist, and other the other hand, so clueless about how to raise her kid, just seems ludicrous. There might be some familiar nods and smiles for viewers who recall the 1970s and '80s. Overall, though, this coming-of-age tale is no more interesting than yours or anyone else's.

This film makes a valiant effort to portray the writer/editor relationship -- so it's starting out with a tough mission. As a longtime fan of Thomas Wolfe's work -- and one who's read voraciously about him, his editor Max Perkins and his lover Aline Bernstein -- I'm so sad that this film does none of them justice. Great actors, obviously, but every role is horribly miscast! In particular, Aline Bernstein,love of Tom's life, was a small, dark, motherly, earthy Jewish woman, much older than he, lively and animated and passionate. Love Nicole Kidman, but in addition to her being totally wrong physically, her part is written as a wretchedly **** harpy who added nothing to his life. Not to take away from Perkins's editing brilliance, but this twisting of the facts is unforgivable.

The lead actor in this director's "The Great Beauty" had a world-weary face you could get lost in, and he kept you connected during all of that film's gorgeous weirdness. Caine and Keitel don't quite do that, but their depth and wit do anchor this film admirably. I enjoy thinky-talky movies and so enjoyed this one, which had some of the same types of visual delights and surprises as "Beauty." The plot is not very cohesive and the payoff rather mild. Still, it's a film to experience and enjoy, especially if you're not young anymore.

I wondered what this movie could offer that I hadn't learned from documentaries about Brian Wilson -- his musical genius and his personal struggles. But I found it really interesting and moving. It might take a while to buy into the "two different actors who don't really look like him" approach -- even with two excellent actors. But they're great at portraying BW's vulnerability, especially Paul Dano. And hearing all that Beach Boys music is a treat. The usually avuncular Paul Giamatti is so subtly evil I could hardly stand to watch him! I felt that the other Beach Boys could have been sketched in better as characters. And at times I wanted more details about Brian's family and concerns in addition to music.

Don't think you will see a reprise of Meryl Streep's rollicking musical performance that concludes "Postcards From the Edge." Streep is a conscientious actor even when she has to portray mediocrity. Her rough appearance (those ridiculous braids!) and obvious study of guitar are pretty impressive, but it's still a cliched family dysfunction story that never offers any surprises. Then throw in some hackneyed old rock songs you never really needed to hear again. ("Woolly Bully" ???) Streep's daughter Mamie Gummer does a good job in a role that's also pretty cliched.I'll admit the feel-good denouement is pretty enjoyable, though.

This movie captures a bit of the hopeful/angsty/goofy attitude typical of a lot of millennials I know. If you're in tune with that and don't expect anything profound, you might enjoy the little dramas of coupling and uncoupling and some winsome performances.

Slick and creepy, if a bit predictable.I just rewatched Oscar Isaac in "Llewyn Davis" and have to say -- his range is amazing; this is worth watching for his performance alone!

The subject matter is important, so I'm keeping my rating in the upper part of the "yellow" section. But as someone who followed the Snowden case closely (and was more fanatically interested in it than any of my friends), I was surprised how boring the film is. Honestly, Glenn Greenwald's book was 10 times as suspenseful, interesting and relevant. Definitely worth reading: "No Place to Hide: Edward Snowden, the NSA, and the U.S. Surveillance State."

[SPOILER ALERT: This review contains spoilers.]

John Hawkins, Glenn Close, and even Lena Hedey & Peter Dinklage (in smaller parts) are really good in their gritty, melancholy roles. Oddly though, this movie about a jazz pianist does not have enough music in it to give you a well-rounded picture of the lead character. I mean, he's not Thelonius Monk or Duke Ellington: I wanted to get more of a feel for the quality of his music. Instead, I (wearily) got a feel for yet another hopeless heroin addict. Elle Fanning was OK, but I couldn't stop feeling that she was channeling a grimmer version of Mariel Hemingway in "Manhattan."

I like Ben Stiller and Naomi Watts, and laughed at some of the wacky, self-deluding ways that this quintessentially New York couple tried to cope with their midlife crisis. But I felt that this turned into a different kind of film about 2/3 of the way through. Less amusing, more cliched, and the emerging villainy of a certain character feels like a cheap shot. Have to say Adam Driver again shows himself to be an amazing talent, totally riveting and convincing in taking on the demands of any role he's given.

This film is well-acted but frustrating. Adams is her usual charming self and Waltz is his usual sparkling-sinister self. Visually, it's great. But there are several key moments when you want so much for Adams's character to reveal the truth about her artwork -- which would have been great for her sanity and perhaps even workable if done early in their marriage. She doesn't, of course, and where the film falls short is helping us to understand why.

I think more insights about Turner's art and technique would have enriched this character study -- just think of how "Amadeus" embraced Mozart's wackiness and his juicy family & rivalry issues while also getting you deeply into his music. Timothy Spall grew more endearing, despite all his grunting and his guttural, at times hard to understand, British speech. All the female characters were incandescent, as was the stunning cinematography ... and the film sent me online to learn more about Turner the artist, so that's something!

This is the worst possible kind of time-wasting DVD ... the cast & quirks are good enough that you can't watch while multitasking, yet the loose mumbling & vague plot are just not that interesting. Joaquin Phoenix wears the same expression on his mutton-chop mug throughout, that of a clueless Wolfman Jack. He's supposedly a private investigator, but he never seems to have a case (or means of support?) and never investigates anything except the fate & whereabouts of his ex-girlfriend. There are smatterings of "L.A. Confidential" -- minus the wrenching emotion -- and some droll & delightful turns by an excellent supporting cast. Honestly glad when this meandering thing was over, though.

She's still gorgeous, of course, but Jennifer Aniston finally has reached the point where some pretty good makeup and a depressed demeanor can make her look at lot more relatable. I wanted to compare it with "The Good Girl," another pretty good portrayal by her that couldn't quite make you believe her in a blue-collar setting. I thought she was good as this depressed woman with every reason to give up on life. The problem here was that so many actresses have done the grieving mother in a way that rips your heart out ... Nicole Kidman, Naomi Watts, Mary Tyler Moore, and maybe most stunningly, Laura Morante in "The Son's Room" (Italian). "Cake" just isn't different enough or strong enough overall to compare with those films. Neither is Aniston, but her portrayal of depression is convincing.

Few surprises here if you've read up a bit on Scientology. Still, the presentation feels honest, especially as you hear from people who were deeply committed to the church/cult but later developed doubts that were just as deep -- and disturbing.

Though well-intentioned, "Selma" really suffers from the fractious King family's refusal to allow the use of MLK's own eloquent words. The usually excellent Oyelowo seemed oddly low-key as MLK, except when he was speechifying. Overall a worthwhile piece of history and definitely had some stirring moments. But does not feel like an embodiment of the man and his times as (for example) Denzel Washington did with Malcolm X or Colin Firth did with King George VI.

Though it's a predictable tearjerker -- the charm, humor and pathos are all right where you expect them -- Shailene Woodley is terrific. Ironically, it might speak less to the average healthy teenager than to grown-ups, who think much more about the limited time they have left and what might happen when they're gone.

This could be an enjoyable film if you're into baby boomer nostalgia -- you know, the idea that you might not have lived through the '60s (or '70s) if you actually still remember them. Certainly lacks the fun of "Almost Famous," especially since Toni Collette's rock 'n' roll writer is a sad sack who thinks her magazine (think Rolling Stone) owes her a living. Still, she, Thomas Haden Church and Oliver Platt are supremely likable and make it an OK story ... pursuing their own wacky paths that may or may not end up where you think.

This is a very well-acted film in which most of the (potential) action simmers below the surface. Not much happens, though. Jessica Chastain is stellar as always and Oscar Isaac is riveting ... it's a gritty, grimy set piece about gritty, grimy goings-on in the NYC of a few decades ago, but I would have liked more of a payoff.

"Ilo Ilo" is truly remarkable for the way it leads you right up to an intersection where you think a movie cliche is coming, but then turns in a different direction. It also lets you experience the characters in a way that's similar to how you might actually get to know them ... encountering feelings of hesitation, distrust, a dispassionate response, eventually an empathy of sorts. And that's true for each one: mother, father, the Filipino maid, even the bratty son. I felt a lot of tension while watching -- partly because I related so strongly with the stress of life during an economic downturn -- and I really, really wish I knew what happened to these people.

Great as far as it goes -- Jake Gyllenhaal attains a new level of cold creepiness. And unlike most films/shows slamming the "if it bleeds, it leads" mantra, this film avoids preaching. Rene Russo is totally believable as the TV producer past the point of prettiness and fighting to stay relevant. But I really wanted a little bit of insight into the lead character's behavior ... the logistics of his previous survival, not to mention the roots of his sociopathic behavior.

If you're a sports fan who likes, say, basketball or baseball, possibly you've always regarded wrestling as a little weird -- all that tension and intensity, long moments of immobility, the obsession with dropping 12 pounds in 90 minutes. But you never thought wrestlers were as weird as this! "Foxcatcher's" memorable scenes are beautifully filmed, but who knows why these people are so bizarre? There are hints about Carell's bizarro millionaire (in real life, quite accomplished) but almost none about Tatum's taciturn meathead (brain damage???). The tension is slow and mysterious, a little like the sport. Love Mark Ruffalo, and never dreamed he could look this unattractive. Is that why he got the Oscar nomination? In my opinion, his acting was more stellar in virtually everything else I've ever seen him in, and I include that steamy, over-the-top crime thriller he did with Meg Ryan!

J.K. Simmons delivered the scene that made me cry as Ellen Page's dad in "Juno," so I was interested to see what the veteran actor would bring to this Oscar-winning role. He doesn't disappoint. As the mean music teacher, he brings perfect control and nuanced nastiness, not to mention showcasing his (who knew?!) extensive musical background. So, worth seeing for all this. The plot itself is extremely unrealistic, however. He could be Coltrane, Monk and Gershwin rolled into one, but never would this kind of sadistic severity be tolerated at any school in the country. Also, two exhausting words: "Drum solos."

This one's strictly for Bill Murray fans. Well, I am one, too, but this felt like an indulgent vehicle for Murray as he pivots around various cliches. It also felt like a Brooklyn version of "About a Boy" (Hugh Grant, Toni Collette) only the latter film had more edge and a brighter, more engaging boy (Nicholas Hoult). Besides Murray, I did enjoy Melissa McCarthy in a role with more heart & less buffoonery than usual.

I can understand why some people would dislike the jumping-around story lines, but I liked the approach. It added to the feeling of volatility that surely was a big part of James Brown's life, and to the feeling of his being haunted by his past. I did feel that the filmmakers put a bright 'n' shiny polish on a life that had some sordid, shameful episodes. I'm used to Southern speech patterns, but couldn't make out what the heck Chadwick Boseman was saying at times ... still, his performance had terrific heart & energy and his onstage performances were amazing.

This film has even less of a plot than its predecessor, "The Trip," but you might enjoy the gorgeous Italian scenery (and gorgeous Italian pasta) more than the moody moors of England (although I liked those). The guys' nimble wits and constant one-upmanship are fun again -- and there's even more on the "bonus" section of the DVD. (Brydon's conversation w/ a petrified Pompeian hit my funny bone.) Their musings about aging and death added a darker shading to this sequel ... but again, unfortunately, it really went nowhere. I'm hoping for a few new impersonations, and a bit more drama, if they reprise this again in a new locale.

I loved Roger Ebert's writing ... sometimes I still find myself seeing a movie and wishing I could know what he thought of it. The film version of "Life Itself" might be even better than the memoir, which often got bogged down in details like what brand of cigarettes were smoked by everyone he knew back in the day. His spirit comes across in the film -- some of his less positive characteristics as well as the ones for which people loved & admired him. The film is almost as much about his wife as about him ... but it's hard to begrudge that since Chaz is a heroic person in her own right.