Steve Persall

Director Alphonso Arau directs this adaptation of the Laura Esquivel novel with a light touch, even in the film's most bizarre twists and passionate turns. [07 May 1993, p.8]

Even when I.Q. turns to mush, it's appealing mush. Robbins has never been so downright adorable on screen; befuddlement becomes him. Ryan looks a few years too old for such an ingenue role, but few female actors have such an immediate bond with an audience. [25 Dec 1994, p.14C]

Two Days, One Night is deceptively slight of drama; it's simply a procession of real moments encountered by a simple character deserving more happiness than life allows, fleshed out by an extraordinary actor.

Unlike many post 9/11 war movies, American Sniper goes easier on the gung ho, with a third act leavened by Chris' depressed denial, his "hurt locker" of stored regret. Eastwood is less concerned with action heroism than the consequences of deadly action, how it chips away at the living.

The pointlessness of Jep's journey is Sorrentino's point, richly made.

Garland's original screenplay brims with intelligence, unafraid to let characters speak over our heads. Yet it remains a pulpy delight, due largely to its uniquely mad scientist.

It's touching, and you can dance to it. What's not to love?

Stephen Fry's elegantly wry performance as Wilde ranks among the best acting of the year so far, elevating what could be a simple impersonation into the embodiment of a person too smart for his surroundings and too tempted by the ways of the flesh. [26 Jun 1998, p.10]

Thanks to Jackson's involvement as a producer, Berg has time and access Berlinger and Sinofsky didn't, allowing expansion of whatever material that's repeated.

World War Z presents an abundance of relatively plausible action, smart solutions and one useful piece of information: When the zombiepocalypse comes, the undead are flying coach.

It isn't Grant who makes Nine Months the funniest movie in months, but a supporting cast of crazies who raise the modern art of physical comedy to new heights, while Grant's character faces unexpected fatherhood. [12 July 1995, p.2B]

Alex Garland’s Annihilation is a bracing blend of cerebral sci-fi and grindhouse terror, a genre movie that’s more, maybe too much for some viewers.

Scott briskly blends the high-minded stuff with impressive boo-and-goo sequences, ratcheting tension in tight spots and dark caverns.

The Safdies' knack for '70s-era grit set to techno beats impresses nearly as much as their star, a teen dream waking up to an exciting new stage of his career.

It's gory and gut-wrenching but strangely life-affirming.

Ready to Wear is a comedy - one of Altman's funniest - but it's the humor of humiliation, of the characters and the industry. [23 Dec 1994, p.16]

In an age of digital chaos and deep emotional themes The Peanuts Movie keeps things sweet and simple, perfectly in tune with the qualities Schulz fans adore.

Redford proves that at 75 he can still choose meaningful projects and deliver them with intelligence.

There's something fairly malignant in the way Glazer's strange movie holds attention, against the urge to give up and leave. There is no doubting its boundless artistry or pretension, a dangerous position for any movie in today's love-me pop culture to place itself in. Under the Skin is exactly where it gets.

Forget the last hour of Pearl Harbor. LeRoy's depiction of Jimmy Doolittle's air raid has all the excitement and patriotism that Disney's publicity machine couldn't buy. [13 Sep 2001, p.13W]

James Mangold's Logan is an uncommonly mature comic book movie, practically from another universe unto itself. It's a movie demanding and deserving to be taken seriously, an elegy for a mutant.

Everybody Wants Some!! is as playfully raunchy as any sex comedy doubling down on exclamation points can be.

Eggers' chilling debut is a small masterpiece of atmosphere.

Ridley Scott's The Martian is a brainy blockbuster, melding genuine science and fiction into a rare popcorn epic that actually makes you feel smarter for watching.

A feel-good movie in the most positive meaning of that term, thanks to the Motown music and O'Dowd's cheeky charm.

The Secret Life of Pets is funnier than Zootopia and fresher than Finding Dory. Bonus points for a genuinely touching finale that had me crying behind my 3-D glasses.

It's a refreshing change from run-of-the-kill horror. Nothing in Splice feels done merely for the moment -- it's to creep you out later.

Rapace is a magnetic presence in a far-ranging mystery requiring such a solid character to orbit around.