If you or any kid over the age of 10 has even a half-interest in the definition of the word "teamwork," as well as the words "real-life suspense," this is the movie.

A bizarre, thrilling, warmly funny spoof of the WWII Steve McQueen prison camp thriller, "The Great Escape" remade for a near all-chicken cast.

It's a good transcription, though sadly bowdlerized. [02 Jul 2000, p.29]

The movie feels both expansive and confining, depending on the story chapter. Anderson’s visual facility by now has become so intuitive, so fluid and effortlessly right, if you’re at all susceptible to the allure of a moving camera you’ll fall headlong into Phantom Thread.

Be warned: Thirst is one of those pictures that tacks on another chapter just when you think it’s wrapping up.

The film is gripping---an honorable and beautifully acted addition to the tradition of homefront war stories.

McKee, like Amenabar, knows how to position his film against type -- which ultimately makes May a refreshing, macabre tale.

The story is spellbinding, the acting lusty and the spectacle everything you could expect from a Golden Age MGM production--though sometimes it's a bit too much on the monumental side.

Based on a true story, the movie has a hypnotic, documentary like appeal despite outlandish performances by Crispin Glover as the ringleader of the kids and Dennis Hopper as a wacked-out former hippie who offers them shelter. River's Edge is challenging to watch if only because it doesn't lecture. It simply presents these young people as wandering, stoned souls; shows a few of them grappling with moral responsibility, and allows the rest to fail. As we leave the theater, we can't help but wonder how common their behavior may be.

An incredibly ambitious film and one of the most highly accomplished of the year.

The film goes pretty easy on the royals in the end, and it's a flattering portrait of Blair. But it's not credulous. Frears may swim in the political mainstream with The Queen but he does so like a champion channel crosser.

A stirring, emotionally true testament to foolish bravery as well as shameful evidence of the severity with which it is so often punished.

One powerful, mesmerizing thriller, a masterful exercise in controlling an audience's attention. [19 September 1986, Friday, p.A]

An unusually strong crime thriller, Eastern Promises comes from director David Cronenberg, a meticulous old-school craftsman of a type that is becoming increasingly rare.

Yes, May December exists in an uncomfortable realm. Haynes isn’t afraid of that, and American movies are better for it.

The results are spine-tingling. There's only one thing to say about this movie and its rescuers, recovered from the dead--and the Dead: Rock on.

A fresh and exuberant romantic comedy that is as smart about playground basketball as Bull Durham was about minor league baseball.

A film of fragile and esoteric pleasures, The Man in the Moon is not a movie that can be recommended to the general public and should probably even be protected from it. But for those who can respond to its tiny formal beauties, it is something to treasure. [04 Oct 1991, p.C]

Turns out to be every bit as deft, witty and, yes, moving as the first one.

It's good for the soul, and composer Joe Hisaishi's themes are so right they sound as if they came straight out of the ground with the girl in the bamboo.

Six Degrees is the next best thing to a great play; a fantastically clever, verbally scintillating, consistently amusing one.

Like "The Notebook," but with an elephant, the unexpectedly good film version of Water for Elephants elevates pure corn to a completely satisfying realm of romantic melodrama.

Wasikowska is wonderful here, unaffected and affecting, but then she has long been a young actress conveying a rich and shadowy interior life on screen. She humanized the Tim Burton "Alice in Wonderland," so clearly she can do nearly anything.

It's a sweet, oft-told story, and Murphy and Hall add a number of very sharp supporting roles-hidden by makeup-to add spice to the general level of gentleness. [1 Jul 1988, p.A]

What makes Victor Nunez's film so special is the modesty of its story and the power that Judd brings to the role. Very quickly, we get the feeling that this story is too familiar to young women. A special film. [03 Dec 1993, p.C]

Modeled on Martin Scorsese's engaging first-person documentaries on the cinema, this one has its own avid personality and scholarly charm. Whoever you are, you'll learn a lot.

Perfect for family viewing.

Mordant in the extreme, and often hilarious, The Death of Stalin somehow manages to acknowledge the murderous depths of Josef Stalin’s regime while rising to the level of incisive, even invigorating political satire.