Michelle Williams

Conceptually...The Baxter is hobbled, and all Showalter has is his concept.

America is about to see a sharp upturn in hard-luck stories, which makes Kelly Reichardt’s small-scale drama Wendy and Lucy sadly timely.

Multiplex entertainment this distinctive and provocative doesn’t come along every day: it’s a head trip well worth taking.

A postmodern tragedy of two people at odds who are both right and both wrong in their argument, sharing responsibility for the birth and death of love.

An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.

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.'

Polley’s fearlessness is one of many reasons I take no pleasure in saying that Take This Waltz stumbles.

Oz the Great and Powerful gets saved from the junk heap by Franco and especially by director Sam Raimi, who happily treats the enterprise as a sandbox.

Reichardt in no way pushes her material, instead giving the viewer the space to live in this space with the characters, observe them and listen to them, and then draw one’s own conclusions about thematic import.

In its broad strokes, Manchester by the Sea doesn’t explore anything new...[but Lonergan] is the master of telling behavior and conversational nuance.

Much in it is invented or misrepresented...more easily forgiveable if the film had any subtlety or depth, but this ain’t that kind of party: it’s a wannabe thriller that unnecessarily stretches its running time along with the truth.

On balance, Wonderstruck should capture the imaginations of precocious kids up for something a little deeper than usual.