Susan Wloszczyna

A somber, meditative, almost poetic film that delivers the horrors of bondage stripped down and head-on.

If you prefer acting prowess over “Star Wars,” you won’t do better at year’s end than observing Rampling (she of the withering stare) and Courtenay (he of the soulful gaze), two stalwarts of that wonderful wave of British talent that hit our shores in the ‘60s, as they perform a finely calibrated pas de deux.

It is also one of the better solo directing debuts by an actor in recent memory. Hardly a false step is taken by Greta Gerwig in her semi-autobiographical script that centers on Lady Bird’s final year at her rather progressive Catholic high school.

[Maren Ade] fully embraces the inherent awkwardness of a testy emotional bond and tackles it to the ground, all the while mining it for heartfelt humor without the all-too-common safety net of predictability found in big-budget Hollywood fare.

A little slapstick, a little action, rich characters and a whopping serving of wit. All baked to near-perfection.

What's most amazing is the finely nuanced performances these bits and bytes deliver.

Director Gillian Armstrong takes the delicate snow globe that is Little Women and gives it a bold new shake. [21 Dec 1994]

Sinbad steers First Kid past mediocrity. [30 Aug 1996]

With the astonishingly assured newcomer Jason Schwartzman to bounce off of, Murray has his best comic foil since those feisty rodents in Groundhog Day and Caddyshack. [5 February 1999, Life, p.11E]

An intensely felt cinematic experience.

Small-town setting, big-time charm. Paul Newman is no fool for taking this perfect-fit role as a hard-luck construction worker who reunites with his son. [03 Feb 1995, p.4D]

Not since Andy Kaufman's reign of terror has a supposed funnyman been so self-indulgently persistent in testing a fan's patience.

A movie with this kind of haunting power comes along only once every decade or so. [20 February 1991, Life, p.11D]

This is the Amy Winehouse few of us ever got to witness, radiating cheeky self-confidence and finding joy in sharing her considerable gifts.

Much like the way that Stubby was often underestimated before he found his calling, I came into this film not expecting how much I would appreciate a more thoughtful use of animation to tell an engaging story.

Except for a brief episode in which singer Chris Isaak and Kiefer Sutherland make like an FBI Rocky and Bullwinkle, this is a morbidly joyless affair. You'll feel as drained as one of Cooper's mugs of joe watching homecoming queen Laura drown in a whirlpool of sex and drugs. [31 Aug 1992]

Can't scare up a decent plot.

We are happy to report there is intelligent life in feature animation beyond planet Disney and the gaseous ball of foul language known as South Park.

The snappy sci-fi hoot Men in Black...is a kind of "Independence Day" for smart people.

What remains is a great Vangelis score, astonishing production design, Hauer's career role -- and a movie that deserves its cult reputation despite an unloving heart. [11 Sept 1992]

Someone should have treated See Spot Run like a bone and buried it.

A riotous and wee bit PG-racy computer-animated family fable, is the most thoroughly enjoyable cartoon feature since "Toy Story" burst out of its box.

Everything in The Lego Movie is, indeed, awesome.

There is that feeling you get inside when a movie suddenly starts to push your every button, creating an emotional connection that goes beyond pure reason and mere emotion. It elevates your mood to such a point that you wish you could hug the screen out of sheer joy and recognition. That is what Gloria did to me.

Babe, a live-action fable about a valiant pig who conquers prejudice like a barnyard Jackie Robinson, is in a league of its own when it comes to enchantment.

May be dull, but the familiarity of it all makes it feel ceremonial, a reassuring ritual.

An untreacly family film is a true rare bird. [13 Sep 1996]

When it comes to eloquently telling it like it is, Election puts the nation's political pundits to shame.