The production values are incredible; in both drama and visuals, I'd put this sea tale up against the unsinkable "Titanic" any day. It's emotionally engaging too, though it's a different kind of love story. Director Victor Fleming (before "The Wizard of Oz" and "Gone With the Wind") makes chopping fish heads seem romantic. [04 Mar 1999, p.F18]

Masterfully put-together, made with confidence, intelligence and command.

The brilliance of MLK/FBI lies in how effortlessly conversant it manages to be with the injustices of the present, without ever deviating from the injustices of the past.

Not the supernatural horror picture its title suggests, but this subtle, elliptical film evokes its own kind of nightmarish situation.

Larraín told his producers he wouldn't do Jackie unless Natalie Portman agreed to take on the role, and her superb performance, utterly convincing without being anything like an impersonation, vindicates his determination.

Mysterious and original.

Solondz's filmmaking style tries to make a virtue out of flatness and distance, and is always more comfortable indicating where feelings would go than actually providing them.

A spirited, revealing documentary.

There is cruelty here but also tenderness, and hellish images that are followed by glimpses of a terrestrial paradise.

Julia Ducournau, making a stellar feature writing-directing debut, fosters the kind of disquieting intimacy with her characters that leaves us continually uncertain of whether we should fear them or fear for them.

The beguiling documentary Chicken People proves that truth is not only stranger than fiction, but often more poignant and illuminating as well.

Within the concise running time, Zea brings a remarkable life and body of work into dynamic focus.

A trenchant conversation piece from a promising new director, Test Pattern provides ample room for one’s biases and privilege to shape our interpretation of what’s on screen.

Mungiu is a master of the long, talky slow burn, and if R.M.N. often feels less focused and more sprawling than some of his earlier movies (“4 Months, 3 Weeks and 2 Days,” “Graduation”), that’s a testament to its expansiveness and ambition. The story becomes increasingly gripping as it meanders and lingers, broadens and deepens, putting peripheral characters into play and bringing latent hostilities to the surface.

Joaquin Phoenix and the terrific acting ensemble that joins him in this pot-infused '70s-era beach noir create such a good buzz you can almost get a contact high from watching.

One of the most fascinating things about Under the Sun is the contradictory thoughts it inspires.

The tricky, twisty structure of this documentary, a scientific and philosophical inquiry by way of a detective story, suggests a joyous earthquake followed by a series of grim, unsettling aftershocks. It careens wildly from near-comic disbelief to unspeakable tragedy, dragging a trail of intense, contradictory emotions in its wake.

This rape revenge story swaps points of view, but it doesn't break the mold. The characters, archetypes and beats are familiar, which allows Fargeat to play with symbolism in a bold, pointed manner.

What’s indelible in this visceral chronicle is that more than profiting from human suffering, the Ochoas fill the gaps of economic inequality while doing good without reservation.

Part tribute, part reconciliation, "Tina" makes a beautiful case for why survival sometimes means saying goodbye.

It’s a thoughtful and complex film that unfolds under repeat viewings and signals the arrival of an exciting new filmmaker.

Simultaneously exhilarating and confounding, dazzling and confusing, this is filmmaking of such verve and style that you likely won't care that you can't follow it completely.

Though it's a decidedly arty piece, Leviathan, named after the biblical sea creature, also lacks much in the way of traditional beauty or splendor. However, the immersive shots of those swooping and circling sea gulls are quite something.

The 17-year-old so completely captures the innocence, cynicism and rage of a child of poverty and divorce on the edge of adulthood that it feels as if you are spying on Mia, so achingly real, so tangible does her world seem here.

A lot of this horrific Little Shop is not only sweet, melodic, funny and oddly idealistic, it's even, well, tasty. [19 Dec 1986, p.1]

Like a preliminary sketch for a vast and splendid mural, it unfolds Fellini's wonderful vision of life in all its joy and sadness, hope and fear, triumph and defeat, that emerges fully in the later movies. [20 May 2004, p.E13]

Even if No is not the whole truth — and no film is — its pungent dialogue and involving characters tell a delicious and very pertinent tale. And the messages it delivers, its thoughts on the workings of democracy and the intricacies of personality, are just as valuable and entertaining — maybe even more so.

The upshot, deftly blending over-the-top violence and healing crisis management sessions, ultimately ties all the laugh-out-loud audacity and tender sweetness together with a festive Christmas bow