A remarkable documentary that's also one of the most beautiful nature films I've seen.

About two men who both wanted to be dominant, who both had all the answers, who were inseparably bound together in love and hate, and who created extraordinary work--while all the time each resented the other's contribution.

For such a sweet-natured, candy-colored, family-friendly animated adventure, Ralph Breaks the Internet serves up quite the mega-helping of meta material.

The Piano Lesson is occasionally overwrought, yet proves to be a worthy adaptation of a classic play.

A skillful action movie about a plot that exists only to support a skillful action movie. The entire story is a set-up for the martial arts and chases. Because they are done well, because the movie is well-crafted and acted, we give it a pass. Too bad it's not about something.

Bob Byington directs with an exact sense of what he wants; consider the perfect timing of his use of Harmony's mom (Margie Beegle). How she says "don't ask me" and "leave me out of it" is unreasonably funny.

Instead of venturing outside Outpost Restrepo, we hear what the soldiers feel about their 15-month deployment.

The story is a mess, but for long periods of time that hardly matters. It's beside the point, as we enter one of the most striking spaces I've ever seen in a film.

Paltrow is truly touching. And Black, in his first big-time starring role, struts through with the blissful confidence of a man who knows he was born for stardom.

It is pitch-perfect, telling the story through the enthusiastic and single-minded vision of its hero Ralphie, and finding in young Peter Billingsley a sly combination of innocence and calculation.

For most of the film, I sat in quiet amazement: I was witnessing a complex, well-crafted, clearly told story, in a screenplay that moved well and had dialogue that sounded colorful without resembling a Quentin Tarantino clone. [8 Oct 1997, p.47]

Close never steps wrong, never breaks reality. My heart went out to Albert Nobbs, the depth of whose fears are unimaginable. But it is Janet McTeer who brings the film such happiness and life as it has, because the tragedy of Albert Nobbs is that there can be no happiness in her life. The conditions she has chosen make it impossible.

[Kirby Dick's] new documentary enrages, yet makes its case in an even-tempered manner.

The movie has a wide appeal, with a gap in the middle. I think it will appeal to children young enough to be untutored in boredom, and to anyone old enough to be drawn in, or to appreciate the artistry.

The movie is long and slow. Either you will fall into its rhythm, or you will grow restless.

Although the movie is a wall-to-wall exercise in bad taste, it somehow retains a certain innocence; it challenges and sometimes shocks, but for me at least it didn't offend, because its motives were so obviously good-hearted.

[An] unabashedly derivative but nonetheless entertaining, pitch-black Norwegian crime comedy.

Fiennes and Richardson make this film work with the quiet strangeness of their performances; if they insist on their eccentricities, it's because they've paid them off and own them outright.

With all we know about this chillingly amoral, blackhearted man, Where’s My Roy Cohn? still serves as a thorough and insightful history lesson that makes a convincing case that among other sins, Cohn was one of the early architects of bitterly divisive, take-no-prisoners, make-no-excuses, dirty-tricks politics.

If the story is immensely satisfying in a traditional way, the style has its own delights.

It's a funny homage, a nod to the way that some movies are universal in their appeal.

The cast is uniformly capable and dead serious, and if you're buying what Luc Besson is selling, he's not short-changing you.

Intelligent and subtle.

It is light and pleasant and funny, the characterization is strong, and the voices of Phil Harris (O'Malley the Alley Cat) and Eva Gabor (Duchess, the mother cat) are charming in their absolute rightness.

Kindergarten Cop was directed by Ivan Reitman, whose best work shows an ability to mix the absurd with the dramatic, so we're laughing as the suspense reaches its peak.

If holes in plots bother you, Marathon Man will be maddening. But as well-crafted escapist entertainment, as a diabolical thriller, the movie works with relentless skill.

The director Brad Anderson, working from a screenplay by Scott Kosar, wants to convey a state of mind, and he and Bale do that with disturbing effectiveness.

The Nice Guys has a little extra padding that isn’t necessary.... Ah, but Crowe and Gosling save the day.