Kenneth Turan

Oslo is an example of strong, confident filmmaking in which nothing is miscalculated or out of place. Anchored by a devastating performance by Anders Danielsen Lie, this portrait of existential despair is beautifully made without being self-conscious about its art.

This is a highflying, super-stylish science-fiction thriller that brings a fresh approach to mind-bending genre material. We're not always sure where this time-travel film is going, but we wouldn't dream of abandoning the ride.

While the conclusion to The Other Side of Hope is open-ended, Kaurismaki unashamedly believes in brotherhood, and among other things his film celebrates people who do the right thing without making a big deal about it.

Strongly tied to a powerful underlying reality (though it inevitably tends to simplify), this film has the additional advantage of being concerned with the emotional truth of its key relationships, adding an unusual father and son story to its incendiary mix. [29 Dec 1993 Pg. F1]

A quintessentially American story that unmistakably echoes European art house cinema, combining the aesthetic purity of France's Robert Bresson with the social consciousness of Belgium's Dardenne brothers. It also is a powerful, character-driven melodrama that easily holds our attention from first to last.

The Square bears witness to history in an articulate, thoughtful and intensely dramatic way.

Even though it ends up falling off the tracks--maybe even because it falls off the tracks-- Homicide absolutely holds your interest with the passion that powerfully felt but ultimately screwy efforts often have.

It's a film whose pleasures are much more visual than dramatic, but that doesn't mean there aren't serious things on its mind.

On Her Shoulders is an intimate, empathetic documentary, made with discretion and power.

Part of the problem is that Taiwan-born Lee, though he does a more-than-credible job of directing, isn't sharp on the nuances of British behavior.

A beautifully made, unapologetically artistic piece of work.

As is always the case with Leigh's protagonists, Poppy does not fit into a schematic log line, she simply is. She exists with an intensity that few other filmmakers' characters can manage because of the singular way Leigh creates his people.

This fractured fairy tale not only knows there's no substitute for clever writing, it also has the confidence to take that information straight to the bank.

Most fun of all, however, is basking in Chappelle's ability to be effortlessly funny. Whether he's making believe he's a pimp in a Dayton clothing store or charming little kids in the Bed-Stuy day-care center that was concert headquarters, his personality infuses the film with infectious good feelings.

Star Michael Caine, who gives one of the great, inescapably moving performances in a career filled with them, based his character on personal impressions of the late author. And Greene's lifelong concern with moral ambiguity gives this film a texture and complexity that movies don't usually achieve.

A small-scale gem of a movie, both dramatically aware and psychologically astute.

Langley's impeccably nonjudgmental camera knows exactly what details to record. Drawn from more than 300 hours of footage, the film's all too brief 94 minutes mesmerizes with its insight and, rarer still, its beauty.

A major American motion picture, an overpowering piece of work that involves some of the most basic human emotions: love, hate, fear, revenge, despair. Directed by Clint Eastwood with absolute confidence and remarkable control.

A powerful and effective piece of advocacy filmmaking, but it's difficult to watch it without thinking of subtitles like "The Place Where Evil Dwells" or "The Little Town With the Really Big Secret." Which is no accident.

Aside from superb ensemble work from an 18-member cast, "Together's sense of human potential is its greatest pleasure.

If, as someone says in one of Brooks' trademark excellent lines, we all feel we're "one small adjustment away from making our lives work," this film is one small adjustment away as well.

On a par with Bridges' acting, and a sine qua non for Crazy Heart's success, is the excellent music he sings.

De Palma's biggest asset, not surprisingly, is the man himself. A formidable talker who is invariably smart, candid and acerbic, De Palma is a person of considerable self-confidence, and listening to him hold forth gives us an always-involving glimpse inside a singular cinematic mind.

Juiced to the max and drenched in style, this "Romeo," mad about its image-a-minute visual agenda, is sure to infuriate as much as it delights. But the film can't be bothered to slow down for your reaction, and it never forgets its duty to be alive on the screen. [1 Nov 1996, pg.F1]

Cuaron perfectly understands how a combination of simplicity and restraint help to create a sense of wonder on screen. Under his sure, quiet direction, A Little Princess casts the type of spell most family films can only dream about. [10 May 1995, p.1]

Custody can be difficult, even wrenching to watch, but it always plays fair with the audience, and the experience, worth every minute expended, is impossible to forget.

It's typical of the nerve, the bravado, the sheer giddy playfulness and sense of fun that characterize what has to be the boldest and most imaginative studio film of the year.

Director Amir Bar-Lev finds a way to mix the personal, the philosophical and the historical into a complex human document, something that's funny, moving and sad.