Jesse Moss’s documentary The Overnighters is being hailed as a modern-day “Grapes of Wrath,” which, up to a point, it is. But it’s far more complicated than that.

Like all good noirs, it has an almost comic appreciation for how the best-laid plans can go horribly wrong. No matter how bad things get, they can always get worse. I watched the film in a state of rapt enjoyment.

As it turns out, bearing Welles’s words in mind, it becomes almost a meta version of Welles’s movie. I would like to think that the great magician himself would have approved.

Despite never having made a movie before, and utilizing comparatively primitive camera and recording equipment, Kurt and his son Ian crafted a movie unlike any other in the rock-doc genre.

This movie is a one-of-a-kind experience – blarney carried to rhapsodic heights.

Judging from this film, a pop cultural resurgence in Afghanistan seems ultimately unstoppable, even with a resurgent Taliban, if for no other reason than that 60 percent of the population is under 21. Also, this is a country, as we see again and again, that loves to sing.

DiCaprio's performance is a revelation only for those who have underestimated him. In Scorsese's previous films, "The Gangs of New York" and "The Aviator," he seemed callow and miscast, but here he has the presence of a full-bodied adult. He's grown into his emotions.

One of the funniest and happiest movies I’ve ever seen about early adolescent girls and their wayward, fitful joyousness.

Essentially two movies for the price of one. But those halves add up to more than most movies right now.

All in all, a harrowing, one-of-a-kind movie.

It was beset by legal woes and held in French vaults and labs for almost 40 years. Both Neville’s film and “The Other Side of the Wind” are being released simultaneously in theaters and on Netflix. I would advise seeing Welles’s film first. It’s more rewarding and less confusing that way.

Mongol is a throwback to a more respectable tradition. The largeness of its scope arises naturally from the material, not the budget. The movie earns its stature.

I find it the most adventurous and imaginative American film I've seen this year - and also the weirdest.

Since we all know that Paris wasn’t blown to smithereens, the tension here is not in the outcome but in how it was achieved. The meeting between these two men is largely fictional, but the stakes could not have been more real.

This is the loopiest star vehicle in ages.

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.

Tender Mercies builds a marvelous flow of suspense and surprise precisely by refusing to ''pay off'' on situations that would plunge toward sensationalism in any conventional picture. Add another stunning portrayal by the brilliant Duvall - who even does his own singing! - and a splendid supporting cast, and you have a movie to treasure for a very long time to come. [10 Mar 1983, p.18]

The film’s most joyous performer is the bagpiper Cristina Pato, known as “the Jimi Hendrix of Galicia,” who is such a powerhouse that she could probably upstage the Rolling Stones (in their prime).

Viewers expecting a blistering attack on the fast-food business, or an Altmanesque panorama, will be disappointed, but it's a sensitive and humane piece of work.

It’s a good bet that the director had “High Noon” in mind when he made this film, but the comparison ends there. As a compact study of wartime guilt, the film has the look and feel of a waking nightmare.

There's ample reason to stay with this series. When Harry says "I love magic," you believe it.

The wonder, the astonishment, is that these puppets are invested with a full range of human emotion.

Renner gives a full-bore performance of great individuality and industriousness, but essentially his character is as glamorized as any classic Westerner.

Night Moves may have a soft, almost dreamy feel, but at the core it’s crucially hard-headed. In its own quiet way, in how it pulls together our utopian ideals and home-grown fears, it’s the zeitgeist movie of the moment.

If 45 Days is a tragedy, it’s a tragedy without a summation. Despite the ineffably moving speech Geoff delivers to the assemblage at the anniversary party, perhaps the finest piece of acting in Courtenay’s long career, it is not at all clear where these people are headed, or what shoals await.

The film is a real rarity, made even more so by the fact that what has moved us so profoundly are a bunch of pop-eyed plasticine figures.

In some ways the movie's straightforward style is more appropriate to the horror than a more souped-up approach would have been. With material this strong, sometimes the best thing a filmmaker can do is to stay out of the way.

It provides us with a window into the psyche of a person worth caring about.