What’s clear is that many of Weiner’s supporters within the mayoral campaign stuck with him only because of Abedin’s connection to the Clintons. Hey, it’s politics.

This kind of quiet ambiguity, avoiding easy answers to complex human conflicts, is all too rare in American movies.

On screen as on the stage, Glengarry Glen Ross is a powerhouse experience - forcefully written, bruisingly performed, and one of the most thoughtful American films in recent memory. [29 Sep 1992, p.11]

Star Wars: The Last Jedi is the eighth movie in the series and one of the better ones. I’d rank it behind “The Empire Strikes Back” (still by far the best) and the first film, but it’s about on par with the enjoyable last episode, “Star Wars: The Force Awakens,” which also awakened the long-moribund franchise.

From its star-studded cast to its indelible camerawork by the legendary Giuseppe Rotunno, it's an unforgettable experience by a revered master of European cinema.

The visual style is at once deliberately archaic and slyly postmodernist, slinky and sensuous from first frame to last.

An amiable look at a bygone time and a set of ideas about the world that once held far more power and magic than it does today.

He is the least intrusive of great directors, and Boxing Gym, which is about a gym in Austin, Texas, is so offhandedly observant that, for a while, you may wonder if much of anything is really going on.

Bridges draws us deeply inside Blake’s moment-to-moment heartbreaks. He makes us root for him as we would root for a dear friend. Ultimately, his triumphs become our own.

This is a funny, sad, stunningly smart movie about the end of movies, made in Tsai's inimitable, unblinking style. No movie lover should miss it.

In both its original 1973 version and its expanded 2000 edition, this hugely popular horror yarn is less a cleverly spun story than a disjointed collection of shockeroos, surrounding a few ghoulishly effective moments with overcooked plot twists and in-your-face vulgarity. [2000 re-release]

This comedy-drama for children is made with more intelligence and imagination than many of the so-called art films that come our way, filling the screen with vivid images that ideally suit its fanciful plot.

What rescues the film from melodrama is that Legrand drew on extensive interviews with psychologists, emergency police personnel, female victims, and batterers. The bone-deep chill of real, observed experience cuts through this film and gives it a verity that at times reminded me of Frederick Wiseman’s harrowing documentary “Domestic Violence.”

Finkiel's filmmaking is so careful and cautious that it becomes plodding at times. The theme is powerful, though, and the movie's sincerity overrides its heavy-handed tendencies.

Adaptation is sort of like the mythical Ourabouros mentioned in the screenplay -- the snake that eats its own tail -- or like a series of mirrors repeating their images to infinity.

Todd Solondz's movie begins like a suburban ugly-duckling tale with many comic overtones, but it grows darker as it goes along, evoking dangers that youngsters must be alert to in today's world - from drugs to child abuse - and showing how cruel children can be to one another when grownups aren't around.

This is not intended as a movie about what a genius must endure on the path to success. Sharad’s story is much more relatable than that.

Dustin Hoffman gives the inspired performance that launched his movie career, and director Mike Nichols shows a gift for social satire that has never glistened quite so brightly since. [Review of re-release]

His movie is visually as beautiful as anything he’s ever done. Conceptually, it’s muddled. The collision between poetic fancifulness and grim reality, between peace and war, never falls into focus. Miyazaki has seized on a great theme only to soft-pedal it.

Has its pleasures, foremost being its look – a sophisticated puppet primitivism backdropped by near-psychedelic colorations.

A fascinating account, if less urgently compelling than it might have been.

Hands down the funniest movie I've seen all year and also the smartest.

Sometimes enticing, frequently savage.

Superb performances from a nonprofessional cast. It's gripping, timely, and revealing.

Most of the photographs on view in The Salt of the Earth bear witness to great suffering, and what they exalt is not the photographer’s eye but the fearful humanity that binds us all.

Turning Red hits its key points about coming of age with authenticity and without apology.

It's the year's cleverest comedy in more ways than one. The animated sequences are brilliant... Most important, the story also has dark overtones that lend a hint of seriousness to what could have been just silly. [24 June 1988]

Most of the acting is as real and warm as the characters themselves. And the streets, shops, and living rooms of Brooklyn have never seemed more inviting. [29 Jan 1988]