This is a violent Western that sustains strong tension, and it focuses on two resolute women, at odds about how to care.

While there are serious undertones, it all plays as pleasing comedy.

Tommy Lee Jones is at his best as Duke Montana, depressed and regretting his life, but remembering his success and career, expert at stunts, though not without apprehension at times.

There is something grim about Icelandic landscapes and big bearded men, reminiscent of Vikings, hostile to each other.

Clearly, this is Blumhouse horror for the fans, making sure that it has its quota of gore but, not intending to be taken deadly seriously, lots of tongue-in-cheek dialogue and quips.

There's little fault that even the most hardcore fan could find with Mr. Winter's film, which accomplishes the acrobatic act of doing justice to a figure like Frank Zappa.

Australian director of the film, Ashley Harris, takes time to air inner conflicts and interpersonal tensions.

Errol Morris has taken the mechanics of movie journalism a step further. It's not an entirely new thing, but it's a film-nerd treat and a fascinating technique, almost as fascinating as the subject herself.

While not the length or quite the quality of the previous films, there’s some joy to be had.

Uncle Frank feels like a memoir, and also feels extraordinarily true, and fresh, thanks to the untrammeled terrain it visits, at least in New York.

Nobody says no to Dolly.

This is a movie that conveys marital, family, and social tensions at multiple levels.

Patrick Riddick says that singing in this choir involves much more than perfect pitch.

The prolific Mr. Gibney makes art out of the most unlikely subjects, and in Crazy, Not Insane his expressionist's inclinations are given full rein.

Nicolas Cage has worn a lot of things on his head over the years, but the Burmese fisherman's bonnet we glimpse at the beginning is something new. It's one of the few things in the movie that is.

Like its subject, Belushi is sometimes simply too much.

It knows a lot about art history and presumes we know nothing.

Though it plays intelligently with moral twists and turns, The Last Vermeer has a reliable ethical compass in Piller.

In the absence of any effort at character development or any realistic restraint on the mayhem that results, what we’re left with is a bloody killing spree meant to justify retaliation in kind.

In a very real way, Howard and screenwriter Vanessa Taylor have made choices to pretty up what is anything but a feel-good family story.