Rather than structure their movie as a chronological biography, the co-directors, Daniel Geller and Dayna Goldfine, wisely focus on the genesis of Cohen’s most celebrated and performed song, “Hallelujah.” This approach allows them to interweave Cohen’s entire career while also avoiding the one-thing-after-another sprawl that often bogs down these kinds of films.

Herzog soft-pedals his cinematic ingenuity in this personal documentary about his love-hate relationship with Kinski, whose performances in Herzog classics...helped both of them become towering figures on the international movie scene before Kinski's untimely death.

Never quite catches fire.

The characters are so convincing and the mood so light and flaky that it's hard not to find it a delicious little hors d'oeuvre of a movie.

Objectivity is impossible under the best circumstances, and perhaps Hahn comes as close to "fair and balanced" as possible. But unavoidably there's a sense of untold stories and elided details lurking right beneath the surface.

Each man has his own distinctive style, and yet when they jam together it sounds like the most natural thing in the world.

Sentimental from the moment the title hits the screen. But it's a nice kind of sentimentality, based on real affection for the characters and real involvement with a place and time.

It may be subtitled, and the faces may be unfamiliar, but District B13 is the best buddy action movie around.

Materialists scores where it counts most. Jane Austen it’s not, but it gets at the consequences of modern romance among the moneyed classes, where self-worth is bound up in one’s market value.

It's this year's "An Inconvenient Truth."

Has an inordinate number of good laughs mixed in with the not-so-good ones.

I’ve never seen a better performance – or whatever you want to call it – from a two-year-old.

The story is dramatic and Béart gives one of her best performances, even if Téchiné's style has its usual sense of distance.

Acute sense of color and offbeat storytelling style aren't enough to make this sometimes sensual fantasy more than a whimsical trifle.

The movie is an idyllic view of life as it ought to be, rather than the way it is.

It's a lovely oddity, and one that will probably hit home for preteen audiences all over the world.

No one else in Inglourious Basterds comes close to Landa for sheer charisma.

An engaging diversion, if a hokey and predictable one. [7 May 1993, p.15]

Strangely moving and mournful, but I wish more had been made of the beauty these people are relinquishing, if only as a counterweight to all that artful drear.

It would be a lot better if it didn't lean exclusively on bone-crunching action for its climactic thrills, and the story continues long after its ideas have started to sag. [29 June 1989, Arts, p.10]

Messrs. Iñárritu and Arriaga have played this card one too many times. If they really want to appear radical the next time out, my advice is: Tell a single story and tell it well. What a concept.

The marvel of Cage's performance is that, somehow, it's all of a piece. That's the marvel of the movie, too. This is one fever dream you'll remember whole.

The real star here is the big, unmanned freight train sparking through Pennsylvania at 70 m.p.h. while carrying hazardous cargo. Best of all, the train doesn't have any dialogue.

No envelopes are pushed in Brave, which was directed by Brenda Chapman and Mark Andrews, and no genres are subverted. It's a safe experience; but safe, in this case, is better than sorry.

Detailed, compassionate, humane.

A sad experience, but the sadness has no emotional heft because its people have none. This movie hasn't earned its funk.

Easily the best in the series since the first one.

Uneven but always energetic and sometimes very funny.