Director Tomm Moore (the 2009 Oscar contender “The Secret of Kells”) crafts a traditionally rendered feature whose doe-eyed characters faintly echo Miyazaki yet offer a beauty all their own.

Too shapeless and cursorily plotted to fully work as a story, but Koppelman and his co-director, David Levien, generously surround the hero with reliable actors doing solid work; if you can get past the catastrophe of Ben’s behavior, the film’s a genuine pleasure.

It's as much a satire as a mystery, a film as much about art as it is about faith.

Exquisitely painful look at how Hollywood turns its hopefuls into whores. [03 May 1992, p.B35]

They're not looking to say anything grand. What they do say - and what we see - is smart and true.

Stirs excitement about exploration of all kinds.

The movie is seriously sexy and seriously entertaining.

Seemingly limitless access is what makes the movie interesting.

A bleakly allusive look at frozen lives, Curling is very much a specialty item - a movie that goes nowhere slowly.

Spaceballs has the happy air of a comic enterprise that knows it's going right. It just keeps spritzing the gags at us, Borscht Belt-style, confidently and rightly sensing that if we don't laugh at this one, we'll laugh at the next. And so we do. After a long dry spell, Brooks is back on the money with Spaceballs. [24 Jun 1987, p.33]

For audiences with an extremely high tolerance for brutally fetishized shootouts and bloodletting, this continuation of Reeves’s potential-filled reluctant hit man saga is electrifying, both visually and in its cracked narrative ambitions.

Busch combines French absurdist theater and American performance art with a drag queen's flamboyant wit.

Demonstrates an idiosyncratic human touch. Kon is unafraid of the unseemly and unsightly. People are captured as they really might be.

The movie stakes out a whole new arena - male social performance anxiety - and ruthlessly mines it for comic embarrassment.

The larger point Harvard Beats Yale makes, perhaps, is about the inevitability of loss. Many of these men, now in their early 60s, look terrific. Others, let us say, do not. Either way, all of them look very different from the helmeted young athletes of 40 years ago. A sense of mortality shadows the documentary. On or off the gridiron, time is the only opponent who always wins. Even at Harvard, even at Yale.

Overnight is about all kinds of in-the-moment emotional rawness.

There’s something happening here and it isn’t exactly clear. What is clear is that Eytan Fox may yet make a great film for the 21st century.

Everyone Else is not about hurricanes and earthquakes and knives in the back. It's about private, emotional phenomena: the tiny tremors and imperceptible shifts that bring a couple closer together or drive them apart, almost without their noticing.

In Batman Begins, Christian Bale gives us the best Bruce Wayne that has ever graced the screen.

The movie's assemblage of audio interviews poured mostly over astounding race footage is fit for a shrine.

Harrowing and inexorable, the film recaptures the progressive insanity of Jim Jones and the hundreds of worshipers in his thrall, and it certainly gives you willies to last for days.

[A] crass, patchy, often shamelessly funny farce.

Though overloaded with narration, “Honey” triumphs visually, with stunning shots of bees in flight, tracked in slow motion, “Winged Migration”-style, by who-knows-what technical wizardry.

Octubre is a quick, quiet movie that distills Lima, Peru, to a downtrodden version of its more dynamic current self.

This is all far beyond silly, of course - the most inconsequential sort of winking, meta-movie in-joke.

The movie is sufficiently in touch with current comic books that it’s keen to explore Batman’s psychology — breezily, but still.

A pretty decent crime drama - not a patch on the best parts of his directorial debut, 2007's "Gone Baby Gone,'' but it's moody and grim and engrossing if you approach it with the right expectations.

Korine is finding his way toward artistic greatness by searching his soul. It's possible that the man in the mirror is him.