Vanessa Redgrave

[The] soft-glowing facade always seems more real to Ivory than harsh reality...represent[s] our own attempts to stave off reality with the romantic projections of cinema.

O'Toole gives a magnificent old-lion performance...in a role that allows both subtlety and theatrical vigor.

From its laughably lyrical opening to its bow-tying resolution, Lajos Koltai's Evening invites comparisons to Hallmark Hall of Fame TV movies.

In the story's nooks and crannies are ideas to savor...the human-condition horrors of unpassable distances of space, time, and reconciliation.

The pairings of Margaret and Henry, and Helen and Leonard, attempt to cross fault lines widened by class, and the tragedy of Howards End is in the absolute necessity and absolute inefficacy of doing so at their moment in history.

Director John Lasseter pushes the credo 'Story is king,' but the sequel to the 2006 hit Cars unwittingly abdicates the throne.

Condurache and Weisz’s 'small corrections' make a big difference in steering the movie right, enough to make The Whistleblower a decent entry in the genre of political passion plays.

A flashy but disposable exercise in style over substance...

If you're an inveterate softie looking to hydrate your eyes, yes...can't bear the thought of missing good work by Redgrave and Stamp, maybe...low tolerance for having your intelligence insulted (or dreadful renditions of "Love Shack"), it's a definite no.

Quietly but firmly interprets the disturbing story of millionaire John du Pont through bifocal lenses of American dreaming and the sexual fantasies made accessible by wealth.