While this isn't a masterpiece on the level of his great "Chunhyang," it packs a sophisticated cinematic punch.

Like most of Sokurov's movies, this oblique parable is mysterious, elliptical, irresistible.

Morris's unique blend of realism and surrealism gives the film great resonance as a portrait of one eccentric individual and, more important, a study of the morbid proclivities that run beneath the surface of our supposedly civilized society.

Perhaps the most cogent and straightforward dissection of the Bush Administration missteps leading up to the current Iraq nightmare.

Excellent acting, intelligent screenwriting, and dynamic filmmaking give this Mexican production a forceful emotional and intellectual charge.

Chilling and instructive.

Contains amazingly candid views of warriors behind the scenes of battle.

Troell, at 78, continues to turn out films that will last for as long as there are movies. No wonder he feels such a deep connection to Maria in Everlasting Moments. The film is one hero's salute to another.

Three short documentaries about photography made by one of France's finest directors.

This masterpiece of poetic realism features one of Gabin's most renowned performances, a smart subtext about French colonialism, and enough exotic atmosphere to keep your head in the clouds long after the final scene.

The movie should fascinate anyone interested in politics, publishing, and the uneasy marriage between big money and mass communication.

It's dark, funny, ferocious, and vintage Wilder all the way.

Avoiding the clichés and condescension that characterize many films on religious figures, the movie is at once a compelling drama and a thoughtful look at faith-related issues on personal, social, and cultural levels.

Directed by Ulu Grosbard, who has never done a better job of filling the screen with superb acting, and shows great ingenuity at interweaving music with other aspects of the story.

At its best, A Home at the End of the World has great emotional strength. But it's not the towering achievement it might have been if Cunningham had stayed truer to his original inspiration.

Visually ravishing -- an exquisite movie.

Subtle filmmaking and true-as-life acting make this an acute psychological drama with an engrossing sociological subtext. It stands with Doillon's best work.

A fact-filled study that's also a full-fledged work of cinema art. [2 Sept 1988]

Provides an intelligent, deeply personal view of social and political issues that are longstanding and complex but not, she insists, intractable.

The Ballad of Wallis Island is both modest and magical. One of its co-stars, Carey Mulligan, has described its tone as a “gentle euphoria.” That phrase perfectly expresses how this wonderful movie – directed by James Griffiths from a script by Tom Basden and Tim Key – transports us.

Revealing and harrowing.

The legendary Mifune leads a superb cast, and Kurosawa's kinetic camera keeps the adventure sizzling with energy and wit from start to finish.

Gunda is one of the most immersive and eye-widening documentaries I’ve ever seen.

It’s the ultimate time-travel movie into the future, a “flowing time sculpture,” in Linklater’s own words.

The Wild Robot, above all else, isn’t just a life story. It’s a love story about community and intimacy, about what can be imitated, but never duplicated. It is the quintessential fable. Like any great parent, it offers lessons while remaining fun. The wilderness might be harsh, but we don’t have to be.

Movies don't come more original, inventive, or outlandishly entertaining.

Writer/director Peter Duncan's first film is darkly humorous, with dashes of slapstick, brilliant, and original material.

The film medium has often been discussed in academic terms as a vehicle to contain the passage of time. But “Three Minutes” does much more than that. Although it raises all sorts of issues about the nature of the film image and how it can affect us, it is also the least theoretical of movies. We are bearing witness.