The movie sticks with you, thanks to LaBute's observational powers and the three impressive lead performances. [15 August 1997, Friday, p.C]

Rounding, named after the hospital rounds medical students conduct with their mentors, casts enough of an atmospheric spell in its tale of psychological demons haunting a young medical student to linger in your psyche a while.

Problems aside, this is a good, twisty, absorbing work.

It doesn’t duck the messy, unresolved contradictions, the way so many movies about famous artists do.

Scheinman, whose long list of producer credits includes Stand by Me and Misery, makes his directing debut with a good sense of storytelling and a low-key comic style all too often absent in this kind of entertainment. [30 Jun 1994, p.28]

Richard Pryor is a scream as a wrongly accused bank robber. Gene Wilder is just so-so as his partner. [19 June 1981]

Visually, this is one of the most arresting sports documentaries in years, and it doesn't skimp on the visceral thrills, either.

One of those corny, lusciously mounted, almost predictably thrill-packed action movies you can't help but like.

It’s reassuring to see Hopkins return to form, after several years of authoritative coasting. As for Pryce, his affinity for morally comprised men of high achievement (“The Wife,” etc. ) keeps his portrayal of the film’s clear moral paragon from hardening into sainthood.

When it enters the future, it's a new-fangled, old-fashioned jim-dandy of a show.

The result is a strong, amoral action film. [29 Jan 1993, p.C]

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.

Rretains what made it work on stage, chiefly a disarming sense of humor amid the grimmest sort of personal crisis, and a pair of juicy leading roles.

This movie, which aspires to be a Christmas movie classic on the "It's a Wonderful Life" level, is overwhelming, enjoyable and impressive, without being really entrancing.

Politics hovers over every moment of Another Road Home, Elon's layered, loving and deeply personal documentary about her quest to find the Palestinian caregiver who raised her.

It is a tour de force for the actress, needless to say. Iranian Golshifteh Farahani is wonderful in the role.

Brilliant performances by DiCaprio as Frank Jr. and Christopher Walken as his fallen father - and an enjoyable one by Tom Hanks.

A classic haunted-house story enshrouded in fog and steeped in portentous atmosphere. It gives you a case of the creeps oh-so slowly, then hits you with a clever, mind-warping way of saying, "Boo!"

Visceral and suspenseful, Hotel Mumbai is also deeply humane and moving, anchored by searing performances from Patel, Kher, Boniadi and Hammer.

Glory has a genuine moral basis, and it makes all the difference in the world. [12 Jan 1990, p.A]

Swift, amoral and nicely unpredictable.

Lightweight but likable and blessedly free of the posing and pretensions that mark the Hollywood crop of twentysomething coming-of-age films.

Although not all of the movements are fleshed out to their full potential, The Red Violin still attains a certain symphonic grandeur that -- at a time when so many filmmakers are churning out cinematic ditties -- deserves to be applauded. [18 June 1999, Friday, p.A]

Jan Kounen, the maker of Darshan, is a French director with flashy credentials, including music videos, commercials, horror shorts, violent gangster movies ("Dobermann") and offbeat westerns ("Blueberry").

This is very light material, and, unusually for a Lee picture, not everybody in the ensemble appears to be acting in the same universe, let alone the same story. On the other hand: It’s fun.

If Wal-Mart, the Lucifer of multinational corporations in many liberal eyes, sees the fiscal sense in stocking an increasingly wide array of organic foodstuffs, consumer habits truly are changing. Not fast enough, though, for documentary filmmaker Robert Kenner.

Director Carlos López Estrada’s Summertime creates a mosaic of pre-COVID Los Angeles (it was filmed in 2019) through words, action, dance and music. The usual movie musical building blocks, in other words. But not in the usual way.

Sometimes raunchy, but always well-acted. [25 Dec 1981]