Streep and Tomlin are so attuned to each other that it's as if they had worked together all of their lives. In fact, it's their first time. Streep has become a wonderfully soulful comedian; Tomlin always was one.

The irony of Afterimage is that it champions an avant-garde artist, warts and all, and yet Wajda’s stylistics here are conventional and understated.

Dews perhaps makes too much of the notion that Allis was a woman out of her time – a feminist precursor. This is too sociological a formulation for such a patently psychological crisis.

This colorful time capsule of a movie was directed by Van Peebles's son, who appeared in "Sweetback" as a child and doesn't minimize the difficulties his father's underfinanced dream entailed for his hard-pressed family and friends.

The overlong Trainwreck would have been better if it had derailed more often.

Make no mistake: The Michelsons have a lot more going for them than their marital longevity. As the documentary makes clear, both Harold and Lillian made integral contributions to some of the most iconic movies in Hollywood history.

An astonishing human, political, and historical document.

Was this spiritless stuff really directed by Paul and Chris Weitz of "American Pie" fame? How the rebels have mellowed!

Stunningly smart, genuinely disturbing film.

A must-see account that casts a harshly illuminating light on a key period of recent American history.

Payami's gentle comedy captures a subtle range of human feelings through a quietly inventive visual style that embodies the best life-affirming tendencies of modern Iranian film.

A nutty, awkward, oddly impassioned parable that mashes together so many different genres that calling it “unclassifiable” doesn’t really explain very much.

The film works best as a straightforward melodrama set in an anything but straightforward world.

In this forthright screen version of E.M. Forster's posthumously published novel. Directed by James Ivory and produced by Ismail Merchant, who show the same literate skill and the same fidelity to their source that marked "A Room With a View."

Once you accept the fact that “Rogue Nation” is not going to be the wingding of the franchise, it becomes a lot easier to enjoy.

Splendidly acted, sensitively directed.

Belvaux tells this seamy story with great energy, and gives an all-stops-out performance in the leading role. Also fine are Catherine Frot as Bruno's former girlfriend and Dominique Blanc as the addict.

The result is a history lesson both invaluable and horrific.

What the film is ultimately about is the extent to which love and caring can help turn a life around for a person deemed beyond reach.

The film is laced with lovely moments, from the leads and from Shelly as a waitress friend.

Genz and Erling have constructed a story so clever that the pleasure of following its twists is enough in itself.

This may seem like a stunt, but the experience, with many of the sitters tearing up, or smiling beatifically, is overwhelming to watch.

The irony of the picture is the fact that Stone's visual imagination is tremendously impressive here. It is one of Hollywood's most stylistically adventurous films ever. What a pity its brilliant ideas are expended on a failed satire with little but rage on its agenda. [26 Aug 1994]

A winning movie about losing. I didn’t always warm to its coy quirkiness, but it’s the rare American movie about contemporary teenagers that rings more true than false.

Barring a middle-class revolt, it's extremely unlikely that, whatever its virtues, universal healthcare could ever take hold in America. Still, I'm glad Moore made his film.

If you can endure watching it, you won't forget this grim cautionary tale for a long time.

Rohmer's films are renowned for their beauty, so it's surprising that he made a picture using digital video rather than film. But this was the right choice.

The film stands quite well on its own. The directors have made the right, essential decision to make the movie almost entirely from Maisie’s point of view.