Wildly entertaining, deeply humanitarian and fundamentally educational film.

The shiveringly memorable Smooth Talk may be the first film to get adolescence in America right, down to the last, delicate seismographic tremor. What it knows about the age will scare adults to death, because these film makers remember , as clearly as Joyce Carol Oates did when she wrote the short story from which “Smooth Talk” was made.

The experience of watching it produces readily identifiable flavors and associations: It’s a gentle-toned family drama and a moody futuristic fable, with a faint techno-paranoid aroma, a melancholy mouthfeel and a lingering aftertaste of existential unease.

Verhoeven clearly wants us to laugh; the movie’s a gas. But he doesn’t mind if we think too — about the earthy realities of the body, the higher abstractions of the soul and all the thornily ambiguous ways they do and don’t connect.

It’s a raw, explosively funny, elemental tragicomedy about the pure willfulness of love...Basinger is the movie’s revelation. She makes May a jumpy, juicy, full-tilt, sensuous creature. Scrubbing in exasperation at the tendrils of hair that cloud her face, clamping herself to Eddie’s leg like a blond barnacle, she has her own funny side too, but what you remember most is May’s longing, so deep it’s torn her up inside.

Year of the Dragon has an arrogant, electric energy that dares you to look away from the screen for an instant. Do so and you miss a furious piece of action that has bubbled up, seemingly out of nowhere.

A film that understands childhood-to-adolescence as few films do, with dark and loving affection. [12 July 1987]

A delicious adaptation by Susan Isaacs of her novel, directed with a light, knowing touch by Frank Perry. It’s a blithe, sparkling, sophisticated comedy-mystery laced with dark humor that couldn’t be more welcome in the current summer avalanche of teen movies. How gratifying to hear once again dialogue that crackles with wit and humor (and doesn’t even require subtitles!).

It’s a story idea that seems dubious at first, but manages to flesh out wondrously--mostly because scenarist Ron Shelton has such a wickedly tight grip on the absurdities and dynamics of small American cities.

Undine is a poker-faced fairy tale, a fantasy wrought by a committed cinematic realist. It’s an example of how a filmmaker can take an outlandish central idea and play it beautifully straight.

When juxtaposed against a history of Iranian cinema that has often relied on child-centric allegory and non-specific narrative to make its societal critiques, There Is No Evil practically blisters with the intensity of specifically living in Iran as it exists now, as a state once believed to carry out the most executions of any country outside China.

It’s an evocative film that creeps up on you in unpredictably tender ways, so prepare to shed a tear or two — or three.

Formidable from a technical standpoint, The Platform thrives on effectively grotesque production design and ghastly special effects that shock and disgust with purpose.

What exists in this visualized afterward may not look like anything, but that’s why we’re fortunate to have artists like Vasyanovych to show us what’s dazzling, strange, tragic, comic, touching and eventually optimistic about the way forward.

The concision of its story and the elasticity of its themes are crucial to its peculiar potency: Operating within tight narrative and budgetary confines, Seimetz seeks to reshuffle our perceptions, to alter our sense of how movies can represent the unrepresentable.

It’s not only poignant but also fun and unabashedly entertaining in the way that “The Private Lives of Elizabeth and Essex” still is. And it does have it all: authentic, sumptuous 16th-Century settings awash with warm Tudor brick, a splendid cast adorned with jewel-encrusted costumes, palace intrigue and, best of all, a pair of star-crossed young lovers who are irresistible.

Deliciously funny.

I have a weakness for inside Hollywood films, and this smart and fearless item starring Jean Harlow as an amalgam of herself and Clara Bow is not as well-known as it should be. [03 Apr 2020, p.E1]

Charles Boyer and Irene Dunne are perfectly cast in this four-hankie weepie. [03 Dec 1998, p.F48]

Who doesn't love a good amnesia movie, and this one, starring Ronald Colman and Greer Garson, pulls out more stops than one would have thought possible. [03 Apr 2020, p.E1]

Whatever may be flawed in Oliver Stone's searing, full-torque new war movie "Salvador", one thing about it is burningly right: It's alive. It broils, snaps and explodes with energy. The events (condensed from two years of battles and political upheaval in El Salvador) fly past at a murderous clip, hurtling you along almost demonically. [10 Apr 1986, p.6]

More aligned to the docudrama stylings of Mike Leigh or Ken Loach than the likes of a “Lean on Me” or “Stand and Deliver,” Harchol’s inspirational film eschews mainstream tropes in favor of a bracingly candid sociological study that has compellingly done its homework.

One way to approach Spaceship Earth, Matt Wolf’s layered, absorbing and sympathetic new documentary, is as a madly inventive primer on responsible dystopian-hermetic living. But the film — which is being shown at drive-in theaters, in pop-up cityscape projections and on multiple streaming platforms — would make for fascinating viewing under any circumstances.

Nebbou and Peyr’s script crackles most with its observations about aging, sex and second chances, and Who You Think I Am spins a tale of love, attention, manipulation and obsession that is recognizably uncomfortable and summarily captivating.

At the center of Baz Luhrmann’s sprawling pop epic Elvis, a film as opulent and outsize as the King’s talent and taste, Butler delivers a fully transformed, fully committed and star-making turn as Elvis Presley. The rumors are true: Elvis lives, in Austin Butler.

Victor Young’s score is glorious and soaring and Ray Rennanhan’s cinematography is breathtakingly lush and vibrant. Equally vibrant are Cooper and Bergman, who both received Oscar nominations. Two of the most beautiful people to ever grace the silver screen, their love scenes are sexy, touching and sweet.

As wonderful as the original was, this is one of the few times in cinema history when the sequel is even better. [21 Oct 1999, p.F54]

One of the show’s more obvious lessons is that history is a living, breathing entity, and that the cyclical rise-and-fall narratives of leaders and empires can be studied and recounted in ways that uncover bold new patterns of meaning. This film, a straightforward capture of a momentous work of art, illuminates those patterns in ways both sobering and thrilling.