The result is one of the most unforgiving ground-level documentaries about the music business ever made -- the six-string equivalent of "Hoop Dreams."

The summer season rarely has room for a nice, adult comedy like You Hurt My Feelings. It is counter-programming of the finest order and one of the year’s best films.

There is not only artistry in the development of the story - there is beauty, sympathy and emotional appeal in almost every scene.

Wake Up Dead Man is one of the year’s best movies. I’ve enjoyed all three movies, but this one is the best of the “Knives Out” mysteries so far.

It's one of the great movies on the vicissitudes of love, commitment, and attraction.

It's a funny, fearless, suspenseful sex comedy that, in drawing on science and philosophy and art and death, risks accusations of pretentiousness. But, even in its romantic idealism, the movie proceeds according to recognizable rhythms of how some people live.

The Coens also understand the stark immediacy of this tale, and they visualize it with brilliantly judged details.

It’s rare that a movie fires on all cylinders as this one does. The jaw-dropping animation tells a bittersweet and lovely story. The voice work is stellar, and the score sweeps you along on a wave of excitement. Fans of the books will not be disappointed.

Driving Miss Daisy, about the deepening relationship between a Jewish matron in Atlanta and her black chauffeur, is a luminous joy of a film, heartbreakingly delicate, effortlessly able through indirection to invoke the civil rights era without ever once slipping into portentous pronouncements. [12 Jan. 1990, p.35]

Lemmons’s film is an exercise in memory disguised as Southern gothic.

In the pop high it delivers, this is the greatest prequel ever made.

Hit Man is one of the year’s best movies.

Sing Sing refuses to pass any judgment while inviting the audience to acknowledge the incontrovertible fact that these people are humans just like us.

Star Wars is, quite simply, one of the best family entertainment buys you can make this summer. It’s a gorgeous, fantastic toy, a marvelous science fiction film that anyone can enjoy, sci fi fan or not.

As often happens in films about putting on plays, life imitates art, but in this instance obliquely.

This is an extraordinary artistic breakthrough from a Mexican director who was already fearlessly good to begin with.

Yet, paradoxically, the fact that almost every line becomes a double entendre confirms the fact that the movie is one of Allen's best. Although Allen, like the character he's playing, may self-destruct, the movie emerges triumphant. It holds us from start to finish - a rueful, ironic, wrenchingly funny study of yet another set of mixed Manhattan doubles dedicated to the belief that there's no marriage or relationship so bad that it can't be traded for - or transformed into - something worse. [18 Sept 1992, p.51]

That’s how the gifted young Argentine writer-director Matías Piñeiro makes his movies, in a style that seems casual and feels sure-handed — casual and sure-handed being about as good a combination as artistry, in any medium, has to offer.

Céline Sciamma’s extraordinary fourth feature and a movie of body, heart, and mind.

It's worth stressing how deeply pleasurable Moolaad is to watch.

You can count on the fingers of one hand the number of works in any given year to which one is moved to apply the word ''masterpiece.'' Raul Ruiz's Time Regained is one of them.

Jane Austen's novel has been rejiggered into a jaunty romantic comedy that leaves us as incandescently happy as its characters.

An innovative hybrid of documentary, staged reading, fictional feature, and confessional, The Arbor defies categorization not merely for art's sake - although its artistry is without question - but because conventional forms seem inadequate for such a harrowing story.

Smashing drama of the old-fashioned kind, plus elegant perceptive characterization of the modern school, combined to make Sunset Boulevard one of the greatest films of the decade. [22 Sep 1950, p.12]

It's so hypnotically breathtaking, you don't realize you're not breathing. By the final shot, you don't realize you're crying either, but there go the tears.

Parasite becomes a social satire of almost breathless audacity, a three-dimensional chess game of Darwinian one-upmanship that is by turns hilarious, terrifying, and brutal.

Love it or hate it, “Hamnet” will get a response out of you that you won’t easily shake. I was equally moved and horrified, and I loved every minute of it. As Hamlet would say, the rest is silence.

It's a sleeper - the kind of fresh, dark, edgy, formula-shunning surprise that snaps you out of the usual Hollywood-induced torpor and nudges you back into believing in movies. [19 Apr 1991, p.44]