Lost in America is being called a yuppie comedy, but it's really about the much more universal subjects of greed, hedonism and panic. What makes it so funny is how much we can identify with it.

It’s funny as hell in a drive-in splatter movie kind of way, smart and insightful and respectful in its depiction of modern-day teens, brimming with sly and satiric social commentary — and legitimately profound.

Walker finds an unexpected wit and depth in her character. [7 Aug 1992, p.38]

A passionate and explicit film about sexual obsession.

The effect is strange and delightful; somehow the style lends quasi-credibility to a story that is entirely preposterous.

It's one of those films where you feel the authority right away: This movie knows its characters, knows its story, and knows exactly how it wants to tell us about them.

A Hollywood-style romance between beautiful people, and an honest story about recognizable human beings.

He is one of the most prolific and generous of directors, and there is no word that summarizes a "Tavernier film," except, usually, masterful.

The movie gets the feel right, and there's real energy in the concert scenes, especially the tricky debut of Buddy Holly and the Crickets as the first white act in Harlem's famous Apollo Theater.

The kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy.

This movie is bat-bleep crazy even as it makes solid and thought-provoking arguments. It veers all over the place, at times scoring major laughs, on occasion working quite well as a social satire and a screwball romance. But it also falters with some running jokes that stumble and collapse, and a few cringe-inducing scenes that aim for provocation but seem forced.

Whoever cast De Niro and Grodin must have had a sixth sense for the chemistry they would have; they work together so smoothly, and with such an evident sense of fun, that even their silences are intriguing.

With brilliant, innovative, claustrophobically effective directing choices by Mendes, Oscar-worthy cinematography from the living legend Roger Deakins and strong, raw performances from the two young leads, 1917 is a unique viewing experience you won’t soon shake off.

The movie has an emotional payoff I failed to anticipate. It expresses hope in human nature. It is one of the year's best films.

It is miserable work, even after they grow accustomed to the smell. But it is useful work, and I have been thinking much about the happiness to be found by work that is honest and valuable.

The satire becomes almost numbingly obvious over the far too long running time of 140 minutes, and with all due appreciation for the strong work by the leads, the horrifically impressive VFX and prosthetics, and a few moments of pitch-black humor, we exit the film feeling more pummeled than enlightened.

More reverie and meditation than reportage.

A tender and passionate protest, not without laughter, by Bertrand Tavernier -- a director who is not only gifted but honorable.

Too many films about the dead involve mourning, and too few involve laughter. Yet at lucky funerals there is a desire to remember the good times.

Logan Lucky is great fun and one of the most purely entertaining movies of the year.

It will, I think, entertain kids for whom stop-motion animation is the last thing they're thinking about.

The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance.

All well and fine, but it’s a dark thrill to see the return of the fantastically gnarly, nasty, disgusting, humorless and utterly post-human vampire — the O.G. Dracula — in the gothic horror feast that is Robert Eggers’ “Nosferatu.”

By the time Missing begins its crucial last half-hour, a strange thing has happened. We care about this dead American, and his wife and father, almost despite the movie. The performances of Spacek and Lemmon carry us along through the movie's undisciplined stylistic displays.

Since it is by Wong Kar Wai, 2046 is visually stunning. He uses three cinematographers but one style, that tries to evoke mood more than meaning. The movie as a whole, unfortunately, never seems sure of itself. It's like a sketchbook. These are images, tones, dialogue and characters that Wong is sure of, and he practices them, but he does not seem very sure why he is making the movie, or where it should end.

This is the kind of movie where you laugh occasionally and have a silly grin most of the rest of the time.

Ron Howard's film of this mission is directed with a single-mindedness and attention to detail that makes it riveting.

The climbing sequences, the storms, the drama of broken equipment and nearly broken men — all great stuff, made even more compelling because the film does a wonderful job of letting us get to know and like each of the three adventurers.