The fact that neither Stone nor Gosling are tip-top song-and-dance artists is, in some ways, integral to their appeal. If they were Ginger Rogers and Fred Astaire, we might not feel as much of a kinship with them.

Delivers more goose bumps than anything Hollywood has served up in years – which I hope does not mean that Bayona, a first-time feature director and music video whiz, will be enlisted to direct "Saw V."

Quiet, mysterious, sometimes violent, ultimately close to sublime.

In the hands of a lesser talent, this might have become a self-conscious stunt, but in Hitchcock's it has the tightly wound perfection of a flawless sonnet or sonata.

Stunningly acted. [21 September 1990, The Arts, p.12]

A quintessential New York director made this quintessential New York movie in 1973, with Pacino at his best.

Utterly unsentimental, deeply moving.

This thriller is ingeniously woven with motifs suggesting the difficulty of seeing and understanding truth, and substitutes psychological chills for commonplace gore.

Its leisurely, deliberative style is a perfect complement to the emotions it deals with - emotions so penetrating that I warn you at the outset how jarringly intense you may find Bergman's most brilliant drama in decades.

Plenty of terrible movies know how to work your tear ducts. Here's a weepie that, in Pfeiffer's performance, touches you on the highest levels.

Yes, we can draw links between then and now, but, in a way, Glazer’s film contradicts his own public sentiments. His depiction of this agonized world is so enveloping and unrelenting that, at least for me, it stands wholly alone, untethered to our current traumas.

Illuminating, disturbing, evenhanded.

The film would be more informative if it put Goldsworthy into the broader context of modernist art movements. It's visually ravishing from start to finish, though.

Cary Elwes is marvelously funny as the hero. [25 Sept 1987]

Rigorous and riveting.

Wrenching on both personal and political levels.

Waltz With Bashir is a supremely courageous act, not only as a piece of filmmaking, but much more so as a moral testament.

Nothing short of amazing. [25 Oct 1996, p.13]

Children may enjoy it, aside from the youngest, who might find it too weird for comfort. Its main audience is adults, though. And not just any adults, but those in the mood for venturesome fare that's both surreal and hilarious.

A walloping entertainment, brimming with the magic-realist action that made Ang Lee's somewhat similar "Couching Tiger, Hidden Dragon" a hit.

Rarely does a movie combine so much genuine human drama with such vivid exemplifications of "identity politics" and other sociocultural issues.

This is a sad and funny true-life tale that speaks volumes about the difficulties of independent filmmaking.

Superb performances from a nonprofessional cast. It's gripping, timely, and revealing.

Hurt gives an astonishingly sensitive and funny performance as the bedazzled intellectual, and first-time filmmaker Kwietniowski unfolds the story with an unfailing blend of humor and compassion.

Heart-pounding melodrama.

Ms. Denis is one of contemporary film's best stylists. Friday Night is part tone poem, part love song, and all pure magic.

Excellent acting, a stirring screenplay, and crisply intelligent directing make this fact-based movie a great human drama as well as a riveting and revealing look at crucially important social issues.

This territory is familiar if you remember the great BBC miniseries "Upstairs Downstairs," but Altman gives it a new twist with his restlessly roaming camera and incisively satirical approach. He's still near the peak of his powers.