Rene Rodriguez

There's never any question how Rescue Dawn will end, but as conventional and straightforward as the movie is, it's easy to understand why Herzog was driven to tell this story twice.

I Killed My Mother fares less well when Dolan gives in to some ill-conceived stylistic flourishes (understandable for a young, first-time filmmaker) or when his reach as a dramatist exceeds his grasp (an incident involving thugs who gay-bash Hubert, for example, feels superfluous). But the crux of the film is the furious, tempestuous bond between Hubert and Chantale, and through their volcanic fights, you can see Dolan's considerable talent at its least adorned. [23 Apr 2010, p.G7]

Here is a crime drama that punches you in the gut, full on, and dares you not to blink.

The infectious dark comedy Wild Tales (Relatos salvajes) argues that payback is more satisfying when it’s doled out in fiery, bloody and outrageous doses.

Gingerly paced and meditative, Shanghai Triad isn't as lyrical as some of Zhang's other films, but its hauntingly tragic ending and the bittersweet relationship at its core are as powerful as anything in this director's impressive body of work. [16 Feb 1996, p.7G]

It is as emotionally raw and wrenching as life itself.

There is some exhilarating wordplay in 8 Mile, and you don't have to be a fan of rap to appreciate its quicksilver energy and mischievous wit. For all its grit, 8 Mile ends up radiating a joyful, hopeful vibe. It's an old-school charmer.

There are moments in the punishing drama Once Were Warriors that are supremely difficult to watch, but you can't tear your eyes away. Once these characters -- a violence-prone Maori family living in contemporary New Zealand -- get hold of you, you're in for the long haul. [09 Feb 1995, p.1G]

Ichaso demonstrates he's ready for the big leagues: His movie is noble and slick, technically accomplished. But it never touches the heart. [26 Feb 1994, p.G3]

The Jungle Book has its moments — the panther Bagheera voiced by Ben Kingsley, the python Kaa voiced by Scarlett Johansson and a funny porcupine voiced by the late Garry Shandling are all memorable creations — but the overall film feels cold and mechanical, befitting a movie that was made primarily because technology made it possible.

One thing nearly all the anecdotes in The Hunting Ground have in common is their resolution: A lack of justice.

While We’re Young starts off as an empathetic, funny look at middle age and winds up as profound and schematic as a Neil Simon play — or, for the younger set, an episode of "The New Girl."

The fact that you might emerge from the theater eager to give their albums a listen is a testament to how effective this lively and stirring movie about freedom of speech really is.

This is a straight-up portrait of a man who figured out a way to cling to life longer than anyone expected and, in the process, learned to let the world in.

The most fascinating aspect of The Imposter, though, is why the missing boy's family believed his story.

Despite its downbeat theme, A Single Man is ultimately optimistic about the human capability to gradually make peace with seemingly insurmountable pain and tragedy.

With the insight and sensitivity of an insider, The Messenger illuminates the sometimes invisible victims of war -- the survivors -- and a pain that is tolerated but never quite healed.

Feuerzeig presents an unyieldingly sympathetic but always fascinating portrait of an artist whose mental illness became inseparable from his art, with one often fueling the other.

The movie is slight and, at 75 minutes without end credits, barely qualifies as a feature-length film. But Tomlin is a wonder.

Where Planet Terror is all hollow, self-conscious homage, Death Proof is the work of a director striving to make something original while remaining true to the movies that influenced him. It is also, once it gets going, terrific, sensational fun -- precisely the vibe Grindhouse aims for, but only sporadically attains.

Essentially, You Don't Mess With the Zohan isn't all that different in tone and sensibility from Sandler's previous films, but he's really trying in this one, and the effort pays off.

It's even better as a love story that just happens to make you laugh.

The Wave builds up a nice bit of genuine tension and hits some surprisingly dark notes.

Unlike The Lion King or Beauty and the Beast, Hercules never feels like more than what it is: A zippy, energetic cartoon. But it's still better than just about any movie out there right now. This Hercules is heavenly, indeed. [27 June 1997, p.5G]

The House I Live In is a work of journalism, not propaganda: Jarecki has done his research and leaves it to you to decide what to make of it.

One of the first things that strikes you about these courageous people, who constantly confront volatile, gun-carrying thugs, is that they outgrew their violent pasts and now live contented lives with their families.

The emotional connection we develop with her as the movie unfolds pays off in the final 20 minutes, which is about as happy of an ending as anyone could imagine, except this one really happened.

Tender and sentimental, a little schmaltzy, and ultimately too slight.