Tom Wilkinson

The ne plus ultra of comic-book films...an appropriately tough movie, busy but efficient, rich and thoughtful, and ornamented with visual appeal and exciting action.

An exploitation picture given the 'A' treatment... Putting aside the nagging liberties taken with Anneliese Michel's experiences...[it's] a good scary movie.

Strained of much of its Englishness...A Good Woman earns most of its good will from those Wildean epigrams.

The Last Kiss isn't afraid of exploding romantic conventions--um, at least not at first.

A straight-ahead suspense melodrama, complete with villain and a climax with satisfyingly clean lines. But Gilroy constantly elevates the material with surprise gifts.

Two years after Match Point, Allen delivers another London-set murder melodrama, with diminishing returns.

Breaks no new ground for movies or for Ritchie, but it is an amusing diversion and therefore a return to form.

The epic sweep supports thoughtful reflection on the evolution of a fragile early republic...and the fragile ego of the man crucial to its existence.

[A] pleasing throwback to 1970s war-intrigue pictures.

The film's greatest pleasure is in the snappy dialogue Gilroy crafts for the capable duo of Roberts and Owen...

Chan...can make something out of nothing, while Ratner's chief skills seem to be talking himself into the director's chair and hiring the right people.

Spews noxious gas and obnoxious patter.

Boils down to the importance of facing up to what one can and can't live with, and taking action to set matters right...audiences will be able to recognize the secret agency in their own lives and the folly of living lies.

'Eat Gray Love'...the whole enterprise [is] too platitudinous, but with powerhouse actors like Dench, Nighy and Wilkinson, even a critic can agree it's better to be plucky than a sour stick-in-the-mud.

Prompts 'The Cosplay Kid' of the Comic-Con era of cinema to swallow the sins of our forefathers and the ones we countenance today.

In its broad strokes, Belle captures the intrigue of the real Dido, subject of a famously captivating portrait that is more fascinating and extraordinary than the film positioned around it.

Selma is wet paint Americans (especially young ones) had probably best watch dry, as we remember the past and contemplate where the country goes from here.

Born on the Fourth of July for millennials...Stone effectively streamlines Snowden’s story for mass consumption, edification, and identification.