Thorough and sadly engrossing documentary.

No is a comedy, but of a dangerous sort. Its eyes are open and the laughs tend to stick in your throat.

The scene appalls but doesn't offend; it's a "Worst-Case-Scenario Survival Handbook'' nightmare that resonates on the metaphysical level.

Such moral outrage, apart from the artistry in which it is embedded, tells us that the forces of change are stirring in Iran.

Powerful as the archival material is, the most loaded footage is of these survivors back on the pain-drenched turf of their Hungarian origins and the blood-drenched soil of the former concentration camps they outlived. Given the moral authority of their presence, the film doesn't need extraneous drama, and wisely avoids it. [26 Feb 1999, p.D4]

I’m not sure Lore holds up to repeated viewings — Shortland’s style is so feverish it could quickly turn precious — but it demands to be seen at least once.

Even more than "Chicken Run," Were-Rabbit is a tiny plasticine masterpiece.

Each of these dames of the realm gets to play the choicest of roles: herself.

It's easily the best of the movies I've seen by the various "Saturday Night Live" alumni, and part of the reason it's funny and satisfying is that it doesn't strain. [09 Jun 1983]

Astounding. It is also bizarre, challenging, and, at times, admirably overreaching. In short, it's the kind of ambitious little film that can leave critics in a swoon and American moviegoers scratching their heads.

School Ties might have been more potent if it were set in the present instead of 1955; still, it's richly drawn, strongly felt, handsomely produced, with a smoldering performance by Brendan Fraser. [18 Sept 1992, p.56]

Another triumph of modesty from a master who deserves real, paying audiences, not just the adoration of besotted film critics.

The joke's on us, it turns out; as a director, Affleck has come through with a sharp, morally ambiguous piece of pulp crackerjack.

The movie’s pretty great — not quite “Fargo” with lobsters but close enough, and about as good as regional filmmaking gets. Filmed in Harpswell, Maine and environs — the cobwork of Bailey Island Bridge curves through one scene — Blow the Man Down delves cleverly and suspensefully beneath the surface of a small, well-appointed fishing town in winter. There are bodies and there is blood. There are also a lot of quietly furious women.

Despite its ultimate nuttiness, has a quiet, consuming power that sneaks up on you and doesn't go away. This is something new and ambitious for Von Trier: a work of compassion.

Like a nightmare you recall during waking hours, and then only in its vast outlines, Antichrist has the power to haunt beyond words. For better and for worse, it is exactly the movie von Trier wanted to make and a piece of staggeringly pure cinema.

It's practically a primer on how to rework a literary classic into an impressively restrained movie with something fresh and intelligent to say.

Angst-ridden, yet graceful, stylish, and optimistic allegory about swerving off one road and finding your way back via another.

The director can work wonders within his celluloid universe, but when the time comes to hand us back to reality, he stumbles. With this movie, that hurts.

It’s a long, jangling, melodious soak, rich with backstage incident and wall-to-wall hits.

With unpatronizing empathy, Paris Is Burning beckons us into a subculture. [09 Aug 1991, p.39]

Does Antarctica attract dreamers or create them? It's a thread that runs throughout the film.

A proudly Calvinist work - I mean the comic strip character, not the philosopher - that understands the delights of deep play.

Brilliantly, the movie becomes a double coming-of-age story. The parents' political awakening parallels their daughter's.

Marty is one of those films that appear every few years or so -- a picture so sensitively acted, so tenderly written, so human in its appeal, that it has the utmost distinction, no matter what kind of audience is in the theatre. [04 Aug 1955, p.21]

Some movies rest on an actor's face, and The Counterfeiters has a great one.

Self-consciously poetic and shot within a luscious inch of its life, the film's also an engrossing heartbreaker: a family saga that spans continents, political administrations, and decades of travail to arrive at a harder, wiser place.

The ''R'' rating is understandable, but absurd. This is a family film in the most complicated and, ultimately, most cheering sense.