A thoughtful, engaging film.

The movie's steady good humor and respect for character is pleasing - even energizing.

If you have an ounce of romance in you, you'll sense your own inner Captain Blood emerge when Captain Shakespeare turns him into a dashing figure with a dangerous sword.

The Breakfast Club meets Rear Window. The result should satisfy dating crowds from high school to night school.

It's like a New York City equivalent of a Third World bazaar: It hums with nerviness and cunning. And this movie presents a tingling vision of a working neighborhood after hours. Night falls in Chop Shop like a comfort, a cloak or a shroud.

A quiet, heartfelt story of love and loss.

In every important way, Breach isn't just a solid thriller; it's also an ambitious and engrossing piece of narrative journalism.

The whole film is about innocence and experience, and if it isn't a Blakean song, it is a sturdy and vibrant piece of prose.

Who Killed the Electric Car? makes you feel that no good idea, let alone good deed, goes unpunished. Only the exuberance of the moviemaking keeps your spirits high.

The stripped-down filmmaking preserves the abruptness and surprise of the happy (and unhappy) accidents Reverend Billy finds at every stop along the way, from Manhattan to Anaheim.

Without a note of music or any other extraneous narrative device, Emitai plunges the viewer deep into the lives of the Diola, to the point where the subtitles translating the Diola and French languages are almost superfluous. [02 Feb 1998]

Jacobson and his actors do so much with the characters that they leave an ambiguous residue of blood-streaked regrets and sadness.

Every turn of the story, every interpolated song or dance serves to recall pleasant times in the theater or thrilling stories in the newspapers. [12 May 1936, p.10]

Despite the merry duo of Ford and Connery, The Last Crusade offered a familiar pursuit of the Holy Grail. The Kingdom of the Crystal Skull makes a better move: It goes back to the future. Once again, the Indiana Jones series is the rare franchise that treasures knowledge and embraces the unknown.

Both a condemnation of torture as a political tool and a tribute to the bravery that exists within everyone.

No one has caught the pride, remorse and pain of an unloved and possibly unlovable husband better than Edward Norton in The Painted Veil.

Both handmade and souped-up, it beautifully renders two types of camaraderie: the bonds among eccentrics and the fellowship of speed.

Despite the movie's several shortcomings, it leaves us sated. That's because, unlike Oliver's workhouse, it does give "some more" - more emotional breadth, more hardscrabble farce, and more haunting drama.

A humorous bounty of flesh and fantasy.

Will Ferrell does chicken-fried comedy right: with crackpot discipline and stripped-to-the-beer-belly courage.

As good as Willis is, he's no match for Mos Def.

Jew or Gentile, a good story well told is a thing to be cherished.

It's an unusual and engaging romantic comedy because it's mostly about how these women ready each other for real love.

Fast Food Nation offers no easy answers, but plenty of food for thought.

It twists in on itself mercilessly, rarely pausing to let the viewers catch up, but that's OK. A movie like this depends on staying at least a step ahead of its audience, and this one surely does.

By turns grisly and hallucinatory, The Proposition is one of those grand, mythic Westerns, full of wide-open spaces and dank little hellholes, detestable bad guys and virginal women, laconic lawmen and wary natives.

Only David Lynch could make the incomprehensible so compelling.

Live-In Maid is a lived-in movie. Its cataclysms may be small in scale, but the movie brings us so far into these women's lives that a shattered cup creates an earthquake.