Tom Hanks

The top-billed actors deliver: Hanks with his resonant reserve and Newman in conveying Rooney's failed attempt to live up to his self-image as the ultimate just and loving patriarch.

Illustrates the Coens' problem of ballooning fussiness and shrinking effect.

The film's only fatal failing is its inability to make any of the characters seem real. Most of them are downright creepy in their doll-like inexpressiveness.

Too measured to be lively, too skittish to be provocative, too dramatically slack to be more than a ploddingly literal book-on-film.

A Bizarro-world Frank Capra picture...Though the story deserves more weight...still a pleasing, unusually smart, consistently witty mass entertainment.

Try not to giggle when...Langdon is being called in for '[his] expertise, [his] erudition.' The guy from Bachelor Party? Just kidding, Tom, we love you—just not in this kind of pricy but conspicuously soulless crap.

One of Hollywood's all-time most appealing magic realist fantasies.

'You can't rush art.' Pixar's bliss in art and play is part and parcel of both the creation and the meaning of Toy Story 2, a celebration of the pure joy of doing.

Introduced not one but two indelible characters to the pop culture pantheon: cowboy rag-doll Woody (Tom Hanks) and plastic space ranger Buzz Lightyear (Tim Allen).

A story with timeless, universal themes: family, coming of age (and leaving behind childish things), and the inevitable time when, past our prime, we will all face potential social obsolence.

The well-honed dramedic performances by endearingly mock-cranky Hanks and quirky, cryin' Ryan add just enough weight to what might otherwise float away...

Has the consistency of an individually wrapped slice of Velveeta.

Except as a tool for pediatric grief counseling, Extremely Loud and Incredibly Close amounts to a fetishization of its own trappings (the boy, NYC, 9/11) more interested in Oscar than Oskar.

While The War at times leaves one yearning for more intellectually curious analysis, it remains a potent emotional montage...

The Wachowskis and Tykwer are determined to make you understand eternity, and in that and only that, they succeed: by the time you get to the film’s endless series of endings, you’ll feel as if you’ve lived lifetimes.

What remains most striking about Philadelphia may be the...conspicuous emphasis on intense close-ups. They force an inescapable emotional intimacy in relation to issues the mainstream, at least at the time, would rather have looked away from.

May be obvious and it may be clumsy, but it's also at least a little bit thoughtful, and there's never a dull moment.

By neatly assembling an uplifting weepie out of a few choice lies, it’s almost as pleasant a fantasy as Mary Poppins itself.

Steven Spielberg goes into Stanley Kramer mode for Bridge of Spies, a socially conscious tale of touch-and-go diplomacy at home, at the office, and on the global stage.

The so-called 'untold story' is essentially nonsense...The struggle is real for screenwriter Todd Komarnicki...

You won't ever find me calling Inferno a good movie, but I won't deny that, in dribs and drabs, it gets closer to the marks of fun and quality than I thought possible from this picturesque but dopey franchise.

The heroic journalism depicted in The Post could hardly be more timely, it’s true, but Spielberg’s take rarely achieves dramatic traction.

At a moment when studios and pundits have begun again to question the efficacy of sequels, Pixar’s graceful follow-up justifies the practice, when executed with smarts and heart. 

There's an overabundance of unnecessary concessions to modern taste in this effects-driven, CGI-animated remake, but it moves along pretty nicely—and they haven't broken it.