It’s the first Pixar effort that feels less like a creative outpouring and more like an obligation met to satisfy a distribution schedule.

The film moves slowly, yet at exactly the right pace. Long holds on faces let us ponder what’s said and look for visual clues that it may be a lie.

If you're put off by deliberate filmmaking (or subtitles, though the movie doesn't have much dialogue), you're in the wrong spot. If not, you'll see why voters gave "Atanarjuat," as it's officially called, a 2002 Oscar nomination for best foreign film.

Coppola lacks a firm grip on this material, and it starts to get away from her midway through.

Like waves lapping quietly at a beach, After Life makes its subtle effect, as we wonder which memory we'd choose. [8 Oct 1999, p.7E]

Hungarian writer-director László Nemes makes an extraordinary feature-length debut with this film, which requires us to put together bits of information and leaves us guessing at a few missing pieces.

Phoenix gives a performance as convincing as he did in “The Master,” and in exactly the opposite direction: gentle, meditative and cerebral, instead of angry, closed-minded and baffled.

It's encouraging to see a nation so aware of its public image and defensive about its military decisions examine a dark day in its history.

The ex-lovers' new conversation is stimulating and banal, selfish and broad-minded, affectionate and recriminatory, insightful and obtuse - in short, the kind of dialogue two people might have while pouring out their hearts and poring over their pasts.

Miller’s not interested in character development, plot twists or social commentary, with one possible exception. He wanted spectacular stunts, which he achieves with tremendous skill, and a bad-guys-vs.-less-bad-guys pursuit that goes through countless exciting permutations.

A feature film as odd, personal and sometimes mundane as his (Pekar) comics.

Qualifies as a solid double, maybe a triple.

Pixar's employees, masters of computer-generated animation, capture the look of the ocean like no artists before.

A tribute to anyone who ever picked up a score, a pen, a paintbrush or a grease pencil - or a movie camera.

It's among the most inventive, screwily funny and consistently surprising movies I've seen in years.

Among the handsome explosions, wacky effects, slapstick comedy and zooming action sequences of The Incredibles, writer-director Brad Bird is attempting to start a revolution.

Crowe gave Kate Hudson one pointer while making Almost Famous: Her character simply had to light up every room as soon as she walked into it.

This isn’t a history lesson. It’s pure entertainment, an excuse for good actors to romp through a twisting, well-told tale.

For all the silliness, Kaufman is posing a serious question: Are we better off forgetting things that brought us pain, especially if we didn't change or grow as a result? You may not agree with his conclusion, but who else in Hollywood would pose this query at all, or explore it in such a daffy, gratifyingly inventive way?

He's (Yimou) like a painter combining bloody reds, sunshine yellows and pale blues in the harmony of a masterpiece.

The Dardennes know how to tell low-key stories effectively, and Cotillard’s Academy Award-nominated performance builds toward the unexpected ending.

Wallenda once said, "Life is being on the wire; everything else is just waiting." This film makes that motto ring true.

Cohen and his gang are smart enough to know when to quit. Like a loud but amusing guest at a dinner party, Borat collects his coat and goes home just as his hosts are starting to fidget.

Watching it again reminded me how remarkably the sound engineers did their jobs. Listen to the subtly amplified heartbeat - Ripley's? the ship's? - that pulses under the soundtrack through the last 15 minutes.

Talkies may have killed silent movies, the way TV serials and soap operas wiped out radio dramas. But there are stories most effectively told in the old style, and The Artist is proof.

Letters covers less emotional ground than its predecessor, because Eastwood and first-time writer Iris Yamashita (who shares a story credit with Paul Haggis) allow Japanese soldiers only three modes of behavior.

Unlike David Foster Wallace in “End of the Tour,” a masterful look at depression, Stone’s just a self-centered, unaware bore. He doesn’t merit attention from the kindly, cheerful, anxious Lisa – or from us.

Whatever you feel about Truman Capote, you won't be able to turn away from him here.