The longer film makes Donnie's intentions clearer, explains the time-travel theme better and also leaves us in no doubt as to Frank's identity.

Polished, thoughtful and touching.

The sequel is faster, funnier and wilder, with more cunningly contrived computer effects.

You won't forget Nobody Knows, the quietly harrowing tale of four abandoned Japanese children.

Seeing Lord of the Rings: The Two Towers is like having a second date with the woman who made you fall in love at first sight.

Keaton reminds us what a fine actor he could always be.

It's one of those films in which even the dog is funny. [14 Mar 2004, p.9E]

One of the all-time great horror films. [22 Oct 2004, p.11H]

The first movie I'd have enjoyed more asleep. That's not because it put me to sleep, but because it may be the most dreamlike film I've ever seen.

Lynch does "explain" what's happening via a plot twist two-thirds of the way through "Drive," which will satisfy you (as it did me) or leave you asking, "Is that all there is?"

The giddiest and funniest animated film of the year.

You don’t often hear the adjective “uncomfortable” used as a compliment. But you’re seldom going to come across a movie that makes you as uncomfortable as The Diary of a Teenage Girl yet seems as true to life.

Spielberg has never made a more sophisticated and less sentimental picture. He and writer Tony Kushner craft it like a historical thriller.

The presence of Robert Redford gives the character weight, if not depth, because we bring to the film everything we know about the actor from other movies. Redford’s characters have seemed unflappable for more than 40 years: sometimes cool, sometimes cocky, but almost always master of a situation. To see him beginning to flounder is to see a new Redford, one who catches us off guard.

Marston doesn't develop the characters, except for the strong-willed and quick-witted Maria.

McNamara's too mentally adroit to let Morris pin blame or guilt on him, and the director's not interested in shaming him.

An experience as tender and troubling as any you're likely to get - or not likely, if this subject puts you off.

One of those documentaries about a family train wreck that makes you wonder how people consented to have their tawdry laundry washed so publicly.

Haneke peels back the layers of Georges Laurent as slowly and dispassionately as a scientist dissecting a diseased mouse. The ending arrives with the power and inevitability of Greek drama.

Almodovar still populates his work with characters you'll see nowhere else in movies.

It's tense, strangely funny in a lot of spots and – if you grew up loving old-fashioned, seat-of-the-pants baseball, as I did – the most depressing movie of the year.

The two most frightening concepts in Room, one of the most remarkable movies of 2015, are freedom and the lack of it.

Reveals the drama and degredation so powerfully that it ranks among the all-time heavyweights of sports movies.

I spent The Kids are All Right wondering whether director Lisa Cholodenko was affectionate toward her self-absorbed characters or gently mocking them. In the end, I thought she was both and liked the film more.

The most atmospheric thing in the movie is Farnsworth's face.

Field does what most American directors don't: He shows people at work, in the day-to-day activity unmarked by excitement.

I can't recall the last film that so wholly, honestly and movingly explained what it means to be a Christian.

Some writer-directors would have squeezed pathos from this story until the corn turned to pone, especially in a post-Christmas release. Writer-director Robert Benton (Places in the Heart) keeps a gentler grip on the proceedings and makes 10 times the impact. [13 Jan 1995, p.1F]