Composed of breathtaking images and cheeky bits of humor, Dencik's travelogue reveals a journey with curious traces of the past, eye-popping encounters with a wild present and — in discovering an oil company's ship in the group's midst — a weighted reminder of our future as stewards of the Earth.

Icaros is a mini-epic of serene, intelligent mind-body wooziness.

Although this well-acted film, which was Israel’s official submission for the 2022 international film Oscar, is a bit slow-going, it presents a timely, pointed, at times cleverly satirical snapshot of Israeli-Palestinian relations. It also offers an often poignant look at a dysfunctional family at the center of it all.

If your recipe for outrage needs a villainous presence, Peck isn’t interested in stoking it that way, and shouldn’t need to. That’s not the oxygen Silver Dollar Road, building off a 2019 ProPublica article by Lizzie Presser, wants to breathe. Rather, it’s the warmth, togetherness and persistence of a family fighting a ruthlessly unfair system, holding onto each other as forces move to expel them.

1942's Mrs. Miniver seems dated in today's contemporary world. Nevertheless, it's still an inspiring, well-made, patriotic drama. [05 Jan 1997, p.4]

Revenge may be a dish best served cold, but Argentine writer-director Damián Szifron allows it to sit until it congeals in the dreary six-part anthology Wild Tales.

This is a blistering drama, intense, disturbing and inescapably thought-provoking, a film that gets its power from a merging of potent opposites.

Memories in popular music are notoriously short, and if you’ve forgotten how extraordinary a singer Linda Ronstadt is, how wide a range of material she’s explored and how deep her commitment to the art and craft of music is, Linda Ronstadt: The Sound of My Voice is a potent, mind-expanding reminder.

Stand and Deliver itself, with its message of the soaring rewards of learning, aims high and delivers perhaps a B+. But it's already a better, less cliched film than La Bamba, with considerably more on its mind, and its strengths may pave the way for more complex, more demanding stories of the Latino experience for all audiences.

It’s all so horribly familiar — even for those who have never traveled, never tended bar, and never found themselves the only female in a roomful of drunken, lonely men. The central terror of Green’s ferociously tense, intelligent movie is the terror of recognition.

In giving historical context to the poisonous nature of our oft-bemoaned political discourse, "Best of Enemies" showcases brainy bloodsport with humor, nostalgia and, appropriately, a lacing of melancholy.

Like the best of dreams, familiar yet wondrously different, On Body and Soul adroitly mixes recognizable cinematic tropes with extraordinary ideas that are very much the filmmaker's own.

The rightfully disturbing Buzzard emerges as a true original.

The more things change, the more we have to laugh if we are to have a prayer of remaining sane, and the Pythons are the best possible step in that direction.

Guzzoni’s directorial hand chooses to move with restraint where others would exploit the despair on display for melodramatic manipulation. His focus is on the moral grays.

God’s Country is a film that wants to disarm you at every turn, and it often succeeds with a transfixing, acute spirit of retribution against society’s toxic racial and gender power dynamics.

A great gangster film...Shanghai Triad is one of the lushest-looking, most stunningly photographed (by Lu Yue) films of the year, but its depiction of unabashed material splendor is instantly eclipsed by the natural beauty of this island retreat with its swaying pampas grass, magnificent skies and modest structures of simple beauty.

Hairspray is a deliriously fast and funny satire of the '60s that marks John Waters' best shot yet at mainstream audiences. [25 Feb 1988, p.1]

Grass, true to its title, is small, sharp and bladelike. It may strike you as more of the same until you see it and its implications and possibilities begin to grow and multiply.

The powerfully disturbing Red Riding trilogy will haunt you waking and sleeping, night and day. If you survive the watching of it, that is, which is no easy thing.

A superb bit of tongue-in-cheekery, stylish and fun but also deeply affectionate. [11 Aug 1985, p.5]

Personal Shopper is a gripping portrait of solitude, which is to say it’s a hell of a one-woman show for Stewart, the rare actress who can blur into the background and magnetize the camera in the same scene.

The gritty, low-budget realism approach of the Dogme manifesto gives immediacy and edge to the raw emotions Bier and her cast uncover. Best of all, Bier never forgets that a little humor can relieve an awful lot of pain.

The film is never more real than when Jimmy unloads his anger on someone close to him, a frequent occurrence. Eminem is an actor with a rare gift for rage, and movie careers, even big ones, have been built on less.

By choosing to bludgeon the audience with ever-worsening tales of woe, Once Were Warriors paradoxically blunts its power, though the truth is that people may be too shell-shocked to notice. [03 Mar 1995, p.F1]

[Filho's] mastery of pacing, theme and stylistic eccentricity throughout Neighboring Sounds is so assured as to be breathtaking. Don't miss it.

The Ghost Writer is the kind of impeccable adult entertainment, able to alternate edge-of-your-seat episodes with bleakly comic moments, that Hitchcock used to specialize in and that Polanski himself realized so successfully in "Chinatown" and "Rosemary's Baby."

It’s also worth remembering that someone as complex as Alvin Ailey isn’t going to be captured in any one film. Ailey is, therefore, best absorbed as an elegant, impressionistic primer, a chance to bask in his mastery of movement and dance, as framed by those near enough to him to know what it took out of him to gift it to the world.