This remarkably clever, often hilarious animation derives much of its humor from its satirical view of the 1950s.

Morgan Neville’s movie is more than just a chronicle of Rogers’s career. In some not-quite-definable way, the film itself is all of a piece with Rogers’s principled gentleness. It’s a love letter, but the sentiment and affection that pour through the film is honestly arrived at, even when, near the end, the film threatens to turn into the cinematic equivalent of a group hug.

For a movie about hard-driving pioneers, there is nevertheless much existential ennui in the air.

The only character in the film who seems to have the requisite gravity is Oscar’s mother, Wanda (the marvelous Octavia Spencer), whose scene with her son in San Quentin is as hard-bitten as the rest of the film isn’t.

I’m Still Here is a movie about remembrance – of a family and a nation. The necessity to acknowledge injustice is its timeless clarion call.

With a minimum of actorly fuss, Winger shows us the rage and hurt inside this overcontrolled woman. It's a great piece of acting – high drama at the service of the highest talent.

This first-person account of suffering and survival among Hungarian victims of the Holocaust contains much stirring and revealing material, although the conventionality of its style diminishes the freshness and urgency of its content to a degree. [05 Feb 1999, p.14]

Edet Belzberg’s documentary Watchers of the Sky, which was a decade in the making, reclaims the reputation of Raphael Lemkin, a Polish Holocaust refugee who not only coined the term “genocide” but also invented the concept of categorizing mass murder as an international crime.

Weir had a truly magical touch in early films like this 1977 masterpiece, which offers a transfixing excursion into the "dream time" of Australian myth.

Victimization of homosexuals during the Holocaust era has often been overlooked. Epstein and Friedman lucidly recount this woeful history, with help from Everett's articulate narration.

Suspenseful and ingeniously directed.

Rarely does a movie combine so much genuine human drama with such vivid exemplifications of "identity politics" and other sociocultural issues.

Everything about this subtly directed drama enhances its pathos and humor, especially an astonishing performance by Gorintin, a 90-something woman only a few years into her acting career.

Riveting documentary about the early California cable outlet and its ingenious programmer, Jerry Harvey, whose unsettled life and tragic death provide a dramatic framework for the account.

The entire film has the glibness of a music video. Boyle has managed to make dire poverty seem glossy.

Masina gives one of her most expressive performances.

I'd be more inclined to call this French dysfunctional family epic gabby and preeningly self-indulgent – in a word, annoying.

Much of the action seems more like warmed-over Quentin Tarantino than first-rate Steven Soderbergh.

After seeing this film, try reading Norman Mailer's "Of A Fire on the Moon," its perfect companion piece.

A first-rate crime thriller from 1960.

It's never been topped.

What I ultimately took away from the documentary is the deep love that can exist between owners and their dogs. In The Truffle Hunters, both are shown to be the custodians of each other’s happiness.

At times the film is so supercharged that it glosses over the story's thematic richness and turns into a very high-grade action picture. But if that's the worst thing you can say about a movie, you're doing all right. The best thing to be said about Children of Men is that it's a fully imagined vision of dystopia.

Kaurismaki is Finland's greatest filmmaker, and never has he more artfully balanced his patented blend of deadpan humor, low-key melodrama, and toe-tapping music.

A reasonably effective comedy-drama that squarely fits the usual Allen mold. [18 Sept 1992, p.12]

This riveting drama takes courageous stands against the senselessness of war and the brutality of capital punishment, leading to one of the most ironic climaxes in British cinema. [17 Apr 1997, p.12]

The paradox of Tarantino’s oeuvre is that it is highly derivative of other movies, mostly genre pulp, and yet the films seem distinctly his. He is the most influential director of his generation because he ranges promiscuously through pop culture and brings to his borrowings an incendiary force.

There are times in this lovely, complacent movie about uncomplacent circumstance when I wanted to be shaken up, and wasn’t.