Glenn Kenny

The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained.

A triumphant revisiting of territory in which Scorsese is an unchallenged master -- the crime drama.

It's flat-out comedy all the way, head-spinningly clever (you'll be talking about a sequence set in the Louvre for weeks) and always engaging. For my money, it's the comedy of the year.

The Burial of Kojo is a near-virtuoso work, a feast of emotion, nuance and beauty, and a startling feature directing debut.

Pretty people behaving poorly in beautiful settings is something we don’t see as much of in cinema as we used to. This is a master class in the subgenre, and one of unusual depth.

Serra’s meticulous shooting and cutting relate to phenomenology; that is, it delivers an account of subjective experience. It implies that Rey’s “personality” is superfluous to his being.

The movie’s protagonist, played with spectacular attention to detail and what feels like a genuine sense of affinity by Adam Driver, is named Paterson.

The work Watts and Murray do in this sequence is both emotionally raw and acutely thoughtful, rife with specificity. It’s career-high stuff.

Yep, this movie is basically a yakfest, but an incredibly fluid and involving one, and if you have any kind of affinity for either of the characters, you’re bound to find the picture a kind of miracle.

Structurally sound while at the same time lacking anything you could call a “plot,” “Suspended Time” invites you to listen in your own life to that which is often neglected or unheard.

No Bears is a picture that’s in keeping with his recent work—circumstances deemed that it just had to be—but one that breaks away from it in ways that yield a work of, yes, astonishment.

Has a warmth that’s utterly enchanting, and a tenderness that’s genuinely touching. This is a real gem.

This movie struck me as both Ceylan’s plainest, and perhaps his finest.

This is an exemplary, moving, show-don’t-tell record of family tenacity.

The thrills of this movie are aesthetic ones, the creation of new, ravishing imagery (and all three of our young heroes are beautiful enough to be up to this task), the surrender to dream logic, the adoration of the silver screen.

Its various components defy logical arrangement both as viewed and in retrospect. What they build up to is even more seductive than anything that led up to it — a moment of breathtaking romanticism that’s as intoxicating as it is unexpected.

This is a movie of head-spinning richness.

In the end, "TÁR" is not a diatribe or parable, but an interrogation, one that seeks to draw the viewers in, and compel them to consider their own place in the question.

Over the course of almost two and a half fascinating hours, they make a cogent, compelling, powerful argument, and they also make a terrific movie.

Almodóvar has created a dense, audacious film in which layers of cinematic artifice lovingly camouflage (at least for a while) its characters’ dark, damaged heart.

You can get a lot of facts about Mr. Graves and his discography on the internet (and I recommend you do). This movie gives you, well, the man’s heart, and it’s a beautiful one.

Rarely does a debut feature showcase a talent so fully formed. This is a remarkably potent film.

Guillermo Del Toro’s Frankenstein is a breathtaking coup, an exhilarating riposte to the conventional wisdom about dream projects. The writer-director makes something almost new, and definitely rich and strange, out of a story we all thought we knew well.

The film surprises, with incredible force, in every one of its 75 minutes.

While "Oh, Canada" has moments of mordant humor, its ultimate mode is the elegiac.

Wildlife is a domestic drama both sad and terrifying. The entire cast does exceptional work (Oxenbould is an exciting find), but the movie is anchored by Mulligan, who gives the best performance of any I’ve seen in film this year.

This film, directed by Zhao Liang (acclaimed here for his 2009 “Petition”) is a kind of poetic documentary. It’s all images and sounds, no interviews, no talking heads.

Olivier Assayas latest effort could be mistaken for a hipper-than-thou thriller. But it isn’t--it’s in fact a difficult, challenging, and troubling art film. [October 2003, p. 19]