It ranks high on the Cronenberg scale as one of his more disturbing forays into depravity.

Technical virtuosity and entertainment ingenuity.

As the film plays out its melancholy story, we realize that what we are watching is far rarer than the usual sports flick.

Intermittently gripping, but overlong.

Lanthimos doesn’t have the directorial energy to stir this thick allegorical stew. Lacking any of the conventional action-thriller movie skills, his deadpan style may be the only one available to him.

The film is rude, colorful, and bursting with questions about American culture, subculture, and society. [08 Apr 1991, p.11]

As gorgeous as it is to watch, Winged Migration suffers from a lack of organization.

Baumbach captures the ways in which children takes sides in a war they can't even begin to comprehend.

First and foremost a very funny film, and a very pleasant one that doesn't really have a villain. Credit for its hilarity goes largely to Black, who gives the performance of his career as a character who might have seemed merely coarse and crude in less gifted hands.

The young cast is mostly callow and TV-bland and the special effects don't quite seem worth that hefty price tag, but overall this is a presentable addition to the franchise.

It transcends its genre even as it fulfills it.

The Namesake takes in a lot of territory, and at times is too diffuse, too attenuated. But the actors are so expressive that they provide their own continuity. They transport us to a realm of pure feeling.

It’s a skimpy, overextended riff, but some of the seemingly tossed-off moments are lovely.

You run across animation this ingenious about as often as a moving castle comes your way.

John Schlesinger's rollicking version of Stella Gibbons's novel is acted with the highest of spirits by Kate Beckinsale, Joanna Lumley, Eileen Atkins, Ian McKellen, Freddie Jones, and many others.

Although the film, for the most part, is told from the perspective of the IRA, it does not blithely take its side.

His (Lindholm) steadfast, unvarying gaze has its own authenticity. He’s made a thriller that thrills while also respecting our intelligence.

It's a troubling, courageous, compulsively watchable work of art.

The odyssey goes on a bit too long, and I suppose a taste for extra dry British comedy is a requirement, but this "Trip" is well worth one.

From its restlessly moving camera work to its heartfelt acting by a splendid cast, "Azkaban" is a horror movie for mature kids.

Without the steadfast intelligence of Clooney's performance, Michael Clayton wouldn't work half as well as it does.

A riveting re-creation of three world-changing collapses: those of the Nazi party, of militarized Germany as a whole, and of the Führer who guided them into self-destructive ruin.

James Ponsoldt, who directed from a script by Michael H. Weber and Scott Neustadter, is a bit too glib to do justice to this material, but the young actors, especially Woodley, are quite fine.

This is the ultimate Woo movie, but while his fans will enjoy every minute, others will find it too long, repetitive, and violent.

Rams confirms what I have long maintained: Often the best films come from the unlikeliest places.

Despite the film's coy artiness and a lassitude that sometimes passes for soulfulness, Certified Copy is strangely haunting.

It sounds like what it is: a modest, workable story for a modest, workable picture. And that's one of the things that make Broadway Danny Rose so likable. The film's very lack of presumption lifts it above the common run of noisy farces and pretentious romances so plentiful these days. [09 Feb 1984, p.29]

Marjorie Prime, which has a soulful score by Mica Levi, is essentially a chamber drama, and yet it rarely feels stifled or stagey.