Toby Jones

With a bit more discipline, McGrath's wide-ranging film would be the equal of its more straightforward, older brother, but Infamous' many charms deserve their own moment in the sun.

Like a long-term relationship, The Painted Veil is well-intentioned and not particularly sexy, but understands duties of forgiveness, sacrifice, and commitment.

Both a gory monster movie and a Twilight Zone-styled morality play on mob mentality and religion run amok.

Entertaining and provocative...a satisfying intellectual bout.

[A] family-friendly science-fiction series redefined for the new millenium by an especially grand, generous spirit to its storytelling.

Makes a choice to eschew fun in favor of pitch-black tonality...but kudos to Harcourt and Martin for their ambition in adding new dimension to an old story.

Leigh's extensive use of improvisation in rehearsal led to a razor-sharp final script, endlessly blooming with memorable dialogue that—while never less than credibly naturalistic—proves thematically fertile.

Williams is better than the picture, but within the screenplay's constraints, she nails every possible nuance of physical and emotional expression. It's dazzling work, and reason alone to spend ninety-nine minutes 'with Marilyn.'

While Anthropoid tends to the sober and dour, it also breaks into the brutal, the intense, and the emotionally devastating, all the right 'moves' for a war story of moral heft compromised by Pyrrhic victory.

Isn’t about anything more than the spy game and how to make it to the end of the board...Then, too, there is Theron, whose kind of un-performance in repose keeps breaking out into ferocious fighting that suggests a feral Jackie Chan.

In what starts to feel like a 'meta' running joke (or admission of creative exhaustion), the characters keep stumbling upon the leftovers of the earlier films...