Works beautifully, both as a social and psychological drama and as a taut, tightly wired thriller.

Fans of true-life crime stories should gain special pleasure from Jagged Edge, because the film does succeed in making its ending unpredictable--even though an unresolved ending would have been better.

Heavily influenced by Sternberg's "Underworld," this is one of Ozu's oddest, most enjoyable departures; it reveals him as a first-rate noir director. [09 Jan 2005, p.C11]

This exercise in racked nerves makes most of the year's thrillers look like flailing maniacs by comparison.

At her best—and even in a hand-me-down project like Point Break—Bigelow is a uniquely talented, uniquely powerful filmmaker. Where the male action directors are still playing with toys-with dolls and models and matte shots-Bigelow has tapped into something primal and strong. She is a sensualist of genius in this most sensual of mediums.

Bi, not yet 30, has made a movie that feels like a visual sigh and, yes, a dream. It’s a reminder of just how expansive the cinema’s boundaries remain.

A rich, shining valentine to the British theater and the eternal joys of Shakespeare,

It’s a lot for everyone to process and I was was drawn in by the conflicting feelings colliding at all once: Mutual grief and joy, but also confusion.

It can be a rare occurrence to find a kid-friendly animated film these days that actually surprises and delights. Dreamworks' Abominable, written and co-directed by Jill Culton, does indeed surprise and delight, all while following a familiar hero's journey tale that borrows from favorite friendly creature films.

Done with an enticing mixture of lacerating comedy, lush Roger Deakins cinematography, robust acting and juicy lines, the Coens' Ladykillers is often glorious fun to watch. It won't please everyone, of course.

Already, McKenna-Bruce can work wonders in terms of assured technique and complicated emotions and she’s magically right as Tara.

Seemingly a simple comedy, it actually -- like all Allen's "simple" comedies -- has a lot to say. Will the audience listen or just dismiss it as minor, out-of-date Woody? If they do, it's their loss.

It's a terrific mix of screwball comedy and detective story, full of wit, romance and suspense. [23 Nov 2007, p.C10]

The work of a remarkable new talent. By the movie's towering, final tracking shot, this imaginative, dazzling film achieves distinction.

This is an intoxicatingly amusing blend of cynical urbane comedy, slick detection and breezy romance. [24 Jun 2005, p.C6]

An exquisitely realized film; a little gem, it keeps its conflicting or varying themes of tranquility and violence, sacred and profane love, recklessness and wisdom, in almost perfect balance.

The easy comparison here is to Hitchcock, but Bong moves at a slower pace, more like Claude Chabrol.

It's rare to find an American movie that works so well structurally from beginning to end, including a second act that withstands the plethora of fast-moving action, and a climax that is satisfying and well earned.

The documentary carrying the same name as Schiele's painting works like a suspense drama and a slippery chronicle of ownership, theft and vaguely unsettling resolution.

The late Mr. Cassavetes directed a film called A Woman Under the Influence. This is a powerful variation on that theme -- a woman tossed every which-way, physically and emotionally. [29 Aug 1997, p.A]

Maxwell Anderson's poetic-political play about crime and fascism, set in a "Petrified Forest"-style ensemble during a Key West hurricane, was turned by Huston and co-writer Richard Brooks into a crackling thriller. [27 Nov 1998, p.Q]

A genuinely charming comedy about real people challenging themselves to create new realities for laughs and a little truth, one made-up scene at a time.

Sunshine is near-classic modern science fiction, hobbled only by a chaotic final reel and some casting missteps in the white-male department.

Watching Loeb opposite Berg, you're reminded of the miracles of chemistry and the luck of the draw when it comes to casting a show -- any show.

Chungking Express is a breezy little Hong Kong movie that has more life, energy, humanity and sheer visual zing than most other shows you'll see in a month or so. And, an hour after watching it, you may indeed be hungry for more. Not necessarily because the show is shallow or unsatisfying, or doesn't leave a strong impression, but because the spontaneity and high energy of it is what's so much fun.

A gripping and original piece of work, itself sure to be remembered as one of the finest films of the year.

Casual moviegoers may enjoy it, too, if they follow a simple rule: Stop looking for the way out and let yourself get lost.