Lovers of science-fiction pictures will certainly go home satisfied. [18 Jun 1954, p.15]

Everyone in the documentary agrees that the undertaking was truly terrible and misconceived. The extensive footage here does nothing to contradict such a view.

Beneath the japery and rough-edged filmmaking is an abiding love for the work — its passion and resilience — and respect for the women whose hidden lifelong language that work may have been.

It's rare that a crime movie achieves such emotional complexity, but this one is smartly layered.

Music by John Williams is a fine tribute to the magic of a legendary maestro.

Freeman portrays Mandela not as a saint but as a man who knows he has the political freedom of being seen as one; it’s a majestically two-dimensional performance with glimpses of a third dimension peeking through.

Seemingly limitless access is what makes the movie interesting.

A rousing movie that’s satisfyingly infused with traditional Disney sentiment.

Like the children’s films of Iranian directors Abbas Kiarostami and Jafar Panahi, Bad Hair explores such social pathology, in part, in the guise of a kids’ movie. But it also takes on the intensity of more pointed films such as “Bicycle Thieves” (1948) and even Hector Babenco’s sensationalistic “Pixote” (1981).

There’s an optimism here that coexists with humor, joy, sadness, and more than one laugh-out-loud moment.

It's foreign, it's inspiring, it has an adorably resourceful kid; it depicts grinding misery in a land far from West Newton, and it holds out the possibility of clambering over all that misery to attain your dream.

This is one of the year’s best films. It’s also one of Lee’s finest joints.

The film's a minuet fetishistically repeated until either the audience or the lovers go crazy. I'd say it was a tie.

The storytelling here is at times as awkward as its hero, and since it is a Gray film Two Lovers takes itself dreadfully seriously. Yet it's one of the few movies I've seen recently that improves on a second viewing, in part because Phoenix does such remarkably subtle work.

The coming of age is not just that of character but of a whole nation, and despite the mild-seeming moniker, the Jasmine Revolution earned its victories the hard way.

The result is nonstop, epistemological slapstick.

Tarantino may have nicked the title first, but this is the real ''Pulp Fiction," with all the drama and the dead ends that implies.

Neil Young Journeys is easily the least of the three documentaries director Jonathan Demme has made with the legendary rocker; but in its shaggy, eccentric way, it may be the truest.

When coupled with the itchy urgency of Garfield’s outstanding performance as Jon, the brio with which Miranda infuses tick, tick … BOOM! helps to camouflage the fundamentally clichéd nature of the dilemma faced by the protagonist.

She Said is successful where it matters most: It shows just how easy it is for predatory men in power to be kept there by an equally corrupt system of people who either look the other way or protect them.

A Matter of Taste, French director Bernard Rapp's polished second film, swims in lies, ones that sate at first, but soon intoxicate, seduce, and drown.

One of the most compelling films the Holocaust has yet produced.

While no individual plot strand is vividly compelling, their interplay makes for a hearty and humanistic mix, carried by the performances.

If you've seen the Beatles documentary "Let It Be," you know what four men who are heartily sick of one another look like, and in 2001, Metallica had been recording twice as long as the Fab Four.

You won't see a more humane and delicately moving riff this year on the theme of getting clean.

I'm still not sure what "source code" means here. I suspect the actors, the director, and the screenwriter haven't a clue either. But the thing keeps you watching.

Under DaCosta’s sure, steady direction, Little Woods belongs with movies like “Frozen River” (2008), “Winter’s Bone” (2010), “Wind River” (2017), and last year’s “Leave No Trace” — dramas about overlooked communities that ache with empathetic detail. The movie steers clear of polemics, though, and puts its faith in its characters, specifically the exhausted, unbreakable bond of sisterhood that unites these siblings.

Joe is one more in the line of Southern Gothic miserabilism that includes “Winter’s Bone” and “Beasts of the Southern Wild,” films that many have praised but some find condescending.