In Moving Midway, Cheshire chronicles not only the history of the move but also of the family members, past and present, who occupied the place, and, most pointedly, the slaves who worked its fields, some of whom turn out to be related.

As an anatomy not only of Polanski's psyche but also of the legal system he confronted, it's as baroquely compelling as "The Dark Knight."

The key to the film’s effectiveness is the casting of Rapace, who, while not mapping quite exactly to the book’s physical descriptions, is riveting.

It never exploits its characters or demands their way of living. For all the hidden misery it uncovers, it remains compassionate and humane from first scene to last.

The sometimes agonizingly powerful documentary Under Fire: Journalists in Combat is built around some staggering statistics: Only two journalists were killed in World War I. Sixty-three lost their lives in World War II. And in the past two decades, almost one journalist per week has been killed.

This is not the sort of movie that offers up immediate gratifications, though there are some of those. Instead, it moves along with a steady grace. Its ruminative power creeps up on you.

Tim Robbins gives a strong performance in this first-class horror yarn, which has a surprisingly strong political edge.

In Gyllenhaal's all-out performance, it reminded me most of Judy Davis in "High Tide," another movie directed by a woman (Gillian Armstrong) about a misfit mother and her daughter. It has the same fierce honesty.

The viciously anti-Semitic 1940 German movie “Jew Süss” is one of the most notorious films ever made...Today it is one of the few Nazi-era films that still cannot legally be shown.

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

Considerably less slick than "An Inconvenient Truth," and no less urgent.

I don't wish to give offense here, but it certainly doesn't hurt that Mary Lou is voiced by that famously small bundle of energy Isla Fisher. (She's 5-foot-2.)

In Michael Winterbottom's Trishna, Thomas Hardy's Victorian romantic tragedy "Tess of the D'Urbervilles" proves surprisingly adaptable to contemporary India.

A feast for Neil Young lovers and initiates alike.

This may sound like a dry subject, but, as presented here, it's anything but – especially if you have more than a passing interest in the art and science of what gets projected onto our movie screens these days.

Lena Dunham, the writer-director-star of the microbudget Tiny Furniture, has a distinctive comedic take on the world – a kind of haggard spiritedness.

Pianomania is the thoroughly apt title for a thoroughly enjoyable documentary.

As a man flummoxed by circumstance and the rifts in his own marriage, Romano is deeply touching in the role. As for Hunter, this is her best work since “Broadcast News.”

Nathalie Baye is remarkable in Le Petit Lieutenant where she plays Caroline Vaudieu, a Parisian police inspector who returns to her post after a bout with alcoholism following her child's death.

A comprehensive and compelling film that does justice to the anguished history of Cambodia.

The most enjoyable thing about the "Ocean's" movies is that nobody involved seems to take them seriously. The star wattage is immense but the stars themselves are refreshingly self-deprecating, almost satirically so.

Nunez unfolds her story at a leisurely yet steadily absorbing pace, allowing Ashley Judd to develop one of the year's most luminous performances in the title role. Made on a low budget by artists with high hopes and towering talents, this is another undersung gem that deserves much wider fame. [13 Jan 1994, p.12]

It doesn’t put you through the emotional wringer the way its predecessor did, but it’s consistently inventive, funny, witty, and heartfelt. In other words, it’s a lot better than it has any right to be. It’s more than good enough to justify its existence.

What comes through so powerfully in this movie is a portrait of an entire generation making its way from death throes to new beginnings.

The results are far more exciting than most Hollywood espionage thrillers.

The interaction between soldiers and captives becomes a microcosm for an entire culture. It's a wisp of a movie but it has stayed with me longer than much supposedly weightier fare.

The Istanbul interviewees believe it is their responsibility to look after the cats but not confine them as indoor pets. This responsibility is a matter of almost spiritual deference.

It transcends its genre even as it fulfills it.