Dworkin unobtrusively uses small moments to build an engrossing story of courage and hope most narrative films can't match.

Like the first movie this is unassailable family entertainment, with a gentle fairy tale for kids and a raft of mildly satirical pop-culture references for parents.

Departing from a masterful manipulation of space, Lang transforms the futuristic city of the title into a field of dreams centered on death and sexuality.

Though the metaphysical overtones of the screenplay are sometimes awkwardly handled and Eastwood's direction of actors (other than himself) is occasionally uncertain, this was one of the better American films of 1985.

A quantum leap in ambition from "Hard Eight" and "Boogie Nights" and is, to my mind, much more interesting.

Perhaps the most remarkable thing here is Thornton's nuanced performance, but the film has other rare virtues: all the characters are fully and richly fleshed out (with some unexpected turns by John Ritter and singer Dwight Yoakam), and the story's construction is carefully measured.

Neil LaBute delivers his most interesting and powerful film to date, though it's also his most unpleasant and disturbing.

Arcand's fondness for the good old 60s can be cloying, but despite an uneven cast, he finds a tonal balance between sentimental and cynical that keeps the conversations real and heart wrenching.

The film offers a fascinating glimpse of the Iranian urban middle class, and though it eschews most of the pleasures of composition and landscape found in other Kiarostami films, it's never less than riveting.

Absorbing, beautiful documentary.

This is a lyrical heartbreaker that skirts most love-story cliches and is brave enough to be as inconclusive as the characters.

The first Ang Lee film I've seen that I've liked without qualification.

One of the most memorable of Walt Disney's live-action films, perhaps because it stays so close to the traumatic family themes of the cartoon features.

The overall effect is disturbing yet mesmerizing.

Todd Phillips is no artist, but his lowbrow comedies (Road Trip, Old School) always hit the mark because they're so psychologically true: the superego tries to control the id, but the id gets drunk and barfs all over it. Hilarious.

It's easy to suspend disbelief and embrace this historically creative fiction, whose clever relationship to what's known and what's unresolved is part of what makes it so intriguing and so romantic.

Brutally honest and brilliantly acted.

That rare sequel that surpasses the original.

Brett Morgen (The Kid Stays in the Picture) has made an electrifying picture.

Stylistically captivating, subtly nuanced, and structurally unpredictable.

Unprecedented in its intellectual ambition, this is endlessly stimulating; it probably tries for too much, but it shames many other contemporary essays that try for too little.

In its own quiet way this is an astonishing film, both as a medical detective story that sustains taut interest over an extended running time and as a piece of cinema combining unusually resourceful acting and direction. If any movie of recent years deserves to be called inspirational--a much-abused term that one hesitates to revive apart from exceptional circumstances--this one certainly does.