Between the funky Alain Goraguer soundtrack, the sexy outfits, the surreal landscapes and the heavily metaphorical plot, the film still looks and sounds unlike anything else, either in animation or in sci-fi. [21 Jun 2016, p.C3]

Besides being super-duper gory, of course, the new movie is jaunty, good-looking and full of what you might call esprit de corpses.

It’s half-crock and half-sublime, which seems about right for its subject.

Beharie is a tremendous actress, and Miss Juneteenth offers her a complex and nuanced role to prove her range. Peoples visually creates a rich tapestry of place, offering a peek into this world and filling it with believable characters, while carefully threading the historical and cultural significance of Juneteenth throughout. Daniel Patterson's cinematography is remarkable: beautiful, and with an easy, authentic groove.

It's one of the most faithful movie adaptations of any Dick story to date, and it comes from the scariest of all his books, as well as the truest.

One of the quintessential Hollywood shipboard romances, with William Powell and Kay Francis as the seemingly doomed lovers who meet on the high seas. [26 Mar 2000, p.35]

The Dinner Game works thanks to some exceptionally strong acting, impeccable timing and rapid-fire delivery of many funny lines.

It is a fine little old-school thriller.

It is so much more than just melodrama — it is myth-making on a grand yet intimate scale, a film that attempts to express a small sliver of the Von Erich legend, and beautifully does justice to Kevin’s personal journey.

It's so thoroughly engaging, so beautifully made, strikingly shot and chock-full of humor and humanity, I can't imagine any intelligent audience not falling in love with it - if only they take the leap of faith to see it.

Intoxicatingly well-crafted entertainment about hunting down your enemy.

When a culture offers little more than death upon death, appreciating life's everyday beauty is as good an answer as these characters -- and this filmmaker -- can provide.

A light, breezy, often charming little film, with a good cast playing mostly shallow characters.

It may not look like anything he's done before, but Inland Empire joins "Mulholland" and the whatzit "Lost Highway" (1997) to form the strangest show-business triptych around. All three concern artists whose identities demand more than one body. The films give new meaning to the phrase "dual citizenship."

Down in the Delta's large heart is certainly in the right place, but it is beating just a bit too slowly. [25 Dec 1998, p.S]

There's genuine suspense and a lot of humor.

A near-classic, "Woman" is let down only by Bacon's sluggish helming. [15 Aug 1996, p.9A]

I’m not sure the story’s resolution entirely serves what comes before it; it’s not predictable, exactly, and it avoids turning into a different sort of genre just for thrills, yet Domont’s writing and direction are both skillful enough to make me want a few extra minutes in the final round.

Nair's film, her best in a long time, is hardly the first to use a chessboard as a symbol of one life's struggles. It is, however, one of the best.

Kim evokes everything from "Seconds" to "Nip/Tuck" here, but his sureness of touch and lack of melodrama make the themes pertinent and vivid. A heartening step up from Kim's previous film, "The Bow."

I appreciate Haynes’ craft and ambition. I love the Ledger/Gainsbourg scenes, which are sweet and sad and delicately shaded. And Blanchett’s inspired not-quite-impersonation of Dylan is reason enough to tussle with the rest of it.

But the biggest surprise is that Sinise steals scene after scene from Malkovich who has the flashier role. His work also has a quiet power, a tribute to the minimalist acting style that knows the camera can function as an X-ray if the characterization is true. [2 Oct 1992, p.C]

Even if “Inside Out 2” sometimes favors speed over, well, everything else, it’s gratifying to see an ordinary and, yes, anxious 13-year-old’s life, like millions and millions of lives right now, treated as plenty for a good, solid sequel, and without the dubious dramatics of the first movie’s climax.

Moretti gives us something different but very important. He shows us how life goes on.

Most of the performers have limited acting experience, but they are perfect for their parts, exhibiting the courage, stamina and wariness essential to live in such a harsh environment.

Like all the Coens' movies, "Man" is supremely self-aware and darkly, hellishly funny. It's also brilliantly written and acted to a fare-thee-well by an outrageously good cast.

As much a curiosity piece as anything else.

Close to perfect example of an expertly designed and executed thriller.