This slice of (Hollywood) life is among the director's greatest works -- and among the best incisive-yet-affectionate examinations of the movie industry's dark side. [18 Nov 1988, p.25]

Hopkins' insinuating performance puts him right up there with the screen's great bogymen. [13 February 1991, Calendar, p.F-1}

With Sabaya, we witness documentary filmmaking at its boldest; we find hope in seeing not only the triumphs of the Yazidi Home Center but also what the medium can do.

Director Benh Zeitlin and his co-writer Lucy Alibar, a playwright whose "Juicy and Delicious" was the inspiration, have created characters that are wondrously indelible, distinctive of voice and set them inside a story that will unleash a devastating hurricane, and a flood of emotions, before it is done.

It earns its considerable impact by telling an unnerving story and leaving it, in ways both daring and effective, fundamentally unresolved.

Keene made only a couple of films in her abbreviated life, but The Juniper Tree is absorbing enough to make one rue there weren’t more.

The Chinese economic miracle, however, came at a wrenching human cost, one that is beautifully explored in an exceptional documentary called Last Train Home.

More than most real-life stories about marginalized individuals overcoming daunting odds and deep-seated prejudices, “Crip Camp” manages to be at once sweetly affirming and breezily irreverent.

Desire represents Hollywood at its timeless, beloved best. A stunning blend of European and American sensibilities -- Marlene Dietrich and producer Ernst Lubitsch on the one hand, Gary Cooper and director Frank Borzage on the other -- it is the epitome of glittery escapist entertainment. Yet the emotional honesty at its core gives it a reality that is deeply involving. [12 May 1986, p.2]

[A] beautifully bittersweet and generous movie — which, like life itself, draws no distinction between the significant and the insignificant.

The camera is so unobtrusive and the acting so naturalistic that it takes a while for a narrative to emerge. When it finally does, you're surprised to find you're deeply invested in the characters.

The movie is most cutting when it moves away from the big set pieces and, instead, examines the small ways that employees lose their humanity to a capitalist system that’s out to destroy them.

The nexus of perversion, pain and sexual purpose driving writer-director Elliot Tuttle’s dark, discursive chamber drama is of a stripe rarely attempted in even the most self-consciously daring movies.

Captivating new documentary, The Gleaners and I, is charged with the pleasure of discovery.

Eisenberg furthers himself here as a distinctive voice, one with a keen visual sense, a masterful ability to juggle tones and an innate feel for timing and pacing.

This movie is as wrenching as it is eruptive. Hitchcock never went further beyond pop than he did with Sabotage.

Anchored by a charismatic and accessible performance by Javier Bardem as star-crossed Cuban writer Reinaldo Arenas, this florid examination of an artist's coming of age, of cultures in collusion and conflict, is difficult to resist.

What begins as a realist snapshot of the global migrant crisis gradually expands into an aching story of love, loss and the return of the repressed.

As a strictly psychological portrait of destructive masculinity it's a gut-sock, vividly photographed, thrillingly edited and marked by performances (Donald Pleasence and Jack Thompson, most notably) that heave with strange complexity and dark camaraderie.Wake in Fright is true horror.

The effect is dazzlingly beautiful and surreal.

What does it mean to be a knight, or even just to be human? It isn’t an easy question, and The Green Knight, in taking it seriously, isn’t always an easy film. But by the time Gawain reaches his journey’s end, in as moving and majestically sustained a passage of pure cinema as I’ve seen this year, the moral arc of his journey has snapped into undeniable focus.

Viscerally disturbing and achingly humanistic.

This film is sensationalism gone rampant with sex, cruelty, and all the ruddy elements which make for what is known as rough, rugged, brutal appeal. It has to do with soldiering, but it dallies preeminently with sex, and is only in minor degree concerned with war.

It says something about Paul Greengrass' directing style that he's able to make a movie as fresh and frank as The Bourne Ultimatum from a genre as moldy and bombastic as the spy thriller.

Part 2 turns out to be more than the last of its kind. Almost magically, it ends up being one of the best of the series as well.

Candid, insightful and unpredictable, Dame Eileen Atkins, Dame Judi Dench, Dame Joan Plowright and Dame Maggie Smith are not only acting legends but also great friends. And a treat to hang out with.

Like a lot of recent documentaries about the overdue reckoning for sexual predators in positions of power, Athlete A is a reminder that the rot is sometimes within the system itself, not just within the criminals it benefits.

From the first moments of the eerie storm that opens the story, dread is the prevailing mood of this pre-apocalyptic drama - a film very much about this moment in time.