Although the film's Guatemalan and Mexican portions include much effective storytelling, the long American episode is the most stirring.

Goldfinger happened upon a story far larger than he must have anticipated. The Flat is about the persistence of denial, and of hope.

The film suffers at times from biopic-itis – the narrative unfolds with the requisite heartbreak carefully apportioned – but it's always eye-catching.

The Loneliest Planet is not a perfect work of art, but it gets at something powerful: the way that life can turn us around in a flash, without warning.

I wish that the Mexican drug cartel subplot was not so overwrought and Oliver Stone-ish, and the decision to shoot much of the film "Cops"-style is also problematic. But the film puts you right inside an everyday inferno and, to its credit, doesn't turn down the heat.

I am not a fan of food you need a microscope to see, but if your idea of fine dining is pumpkin meringue sandwiches, bone marrow tartare with oysters, tea shrimp with caviar anemones, and ice vinaigrette with tangerines and green olive, then by all means make haste to El Bulli.

The ending is a set-up for yet another sequel: Can "28 Months Later" be very far away?

I wish this movie wasn't so purposefully elegiac and attenuated – at times it's like a middling Terrence Malick fantasia – but it's well worth sitting through.

The film's parallels between Mohmed's travails and the Iraq war are forced, but overall this is a fascinating odyssey that never plays out in ways you would expect.

Along with its disappointments and its narrowness of intellectual focus, Doubt offers up the crackling pleasures of performance and a narrative that snaps shut like a mousetrap. It's the movie equivalent of a rousing night at the theater.

Shulman was around so long that he even got to weigh in on Frank Gehry's Disney Hall. He was skeptical once but came to love it.

In some ways the movie might have been better if it had been about those two Hollywood guys with only occasional blips from the hostage crisis in Iran.

Levy-Hinte has said that a great deal more concert footage exists. I can't wait for the expanded version DVD.

Despite his street cred, Muniz comes across as way too effete for these laborerers, many of whom have harrowing life stories to tell. But his intention to have them re-create photographic images of themselves out of garbage, while it may not pass muster as high art, has the effect of raising their spirits.

Babette's Feast isn't a fast-moving or flashy film. But it has a subtle charm and a warm humor that stick to your ribs far longer than the usual motion-picture glitz. [4 March 1988, p.21]

If I never felt entirely transported by Avatar, it's probably because the story thudded just as often as the imagery soared. But Pandora is still a good place to park yourself for three hours.

Philip Noyce's anti-apartheid drama is tense and thoughtful, if somewhat marred by Hollywood-style thrills.

If there is a single image that we take away from Arthur Miller's "Death of a Salesman," it is of Willy Loman weighted down to his very soul by his suitcases. The image that holds in this modern-day salesman's serenade is Nick the salesman reduced to selling off his own life.

It's as if we were watching one of those buddy-buddy bromances told, this time, from the perspective of the woman who is normally on the sidelines of the men's attentions and affections. It's a welcome angle.

The director is fortunate to have cast actors who fully embody their roles. Muehe, who once played Josef Mengele in Costa-Gavras's "Amen," has the ability to let you see far beneath his masklike countenance. Koch, dashing and intense, is entirely believable as a man of the theater; Gedeck exudes a sensuousness that this covert society cannot abide.

Part 1 of the final installment, 'Harry Potter and the Deathly Hallows,' is another scrupulous adaptation of J.K Rowling's books.

This intermittently terrific cerebral thriller does, indeed, hinge on the proper use of dictionary definitions, but the film is really about the oppressive blahness of small-town, postcommunist Romania. In such surroundings, parsing definitions can almost stand for high drama.

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

Lola is, in other words, a believable heroine for our times.

This computer-animated feature is consistently inventive, if a bit busy and overlong.

Bong's style is comically tart even in the film's most noirish moments.

I do hope there will be many more future installments. I’d like to spend more time with these folks.

Thankfully, the usual Disney cutesy factor is relatively low, and the script by Justin Marks is more literate than usual for this sort of thing. There are even some end credits that, for a change, are actually funny.