The movie, which is as low-key and subdued as Tewfiq himself, is something of a marvel: a precious work of minimalism that, instead of disappearing into itself the way so many small-scale comedies do, grows before your eyes into something profound and profoundly affecting.

Something happened to Mark Medoff's moving Children of a Lesser God in its translation from stage to screen: Somebody turned it into a soft-focus Hallmark card about deaf people. [3 Oct 1986, p.D1]

Could Lorenzo's Oil have been better? Easily. Does it still have real power? No question. [22 Jan 1993, p.G4]

None-too-subtly implies Murrow could easily be talking about the present day.

Lorna's Silence doesn't work, but it's a beautiful misfire.

Essentially a horror movie for kids, but it is also gentle and funny and whimsical, and even in its darkest moments, Selick never forgets who his target audience is. Still, some young children might have a nightmare or two after seeing it.

The movie leaves you feeling angry and frustrated anyway. And justice for all? Hardly.

Despite the great care and research that went into the movie, Frost/Nixon pales in comparison to Oliver Stone's "Nixon" when it comes to humanizing the infamous leader.

This charmingly modest and entertaining film feels warmly human, and its virtues will remain in your memory days after you've seen it. [02 Sep 1994, p.G4]

The result is a gripping psychological thriller that, while lacking the power of "Funny Games," is still the work of a master.

Movies like Monsters, Inc. literally make you feel like a kid again, marveling at the joyously inventive sights before you, and that's a feat that should not be taken lightly.

Hunt gives this funny, touching movie its soul, and the actors elevate the material into something more resonant and memorable than the story promises.

Concise and intriguing.

The most dangerous evil of all -- the kind fueled by plain human greed -- lurks behind every twist of Red Rock West, proving once again it's often the simplest stories, when told with intelligence and creativity, that work best. [16 Sep 1994, p.G4]

All we can do is hope that films such as Hotel Rwanda remind us all -- moviegoer and politician -- of the terrible cost of doing nothing.

In Rappeneau's hands -- and in his choice of the face of Gerard Depardieu as Cyrano -- self-hatred, not a nose, ultimately becomes Cyrano's nemesis. Nothing in the middle of Depardieu's beautiful face -- no protuberance, no scar, no blemish -- could destroy the nobility and honesty of his eyes. [21 Dec 1990, p.G11]

Although Joan Rivers: A Piece of Work is unmistakably a fawning love letter to an amazing performer, its subject proves to be her sharpest, bluntest critic.

As magical as "The Wizard of Oz," the film leaves its spare setting and blooms into action in a colorful springtime world to tell the story of an epic romance lush with silken costumes, giggling courtesans, comic servants and rulers cruel and compassionate.

Ultimately too slight for its own good: It's a genial little doodle, light on plot and heavy on quotable, pithy observations.

Coriolanus is not by any stretch a hero, and yet Fiennes makes him magnetic, a warrior you can't look away from even when you might want to.

Abel is a man with ideals in a world that has no use for them: If he’s going to succeed, he’s going to have to use his wits instead of bullets, and although the odds against him are formidable, watching his struggle is riveting entertainment.

I Am Love is a bold and thrilling masterpiece -- the introduction of a major talent to the world's stage.

The less you know about Gone Girl going in the better, but even knowing what’s ahead doesn’t prepare you for the movie’s tone, which is funny yet curdled and cynical and black. This is a satirical antidote to the feel-good pap most Hollywood movies about relationships push on their audiences - here’s the perfect date movie for someone you want to break up with.

The movie's scientific content is so fascinating that it almost feels like a bonus that Kinsey himself is such an intriguing figure.

Often grim, but never nihilistic: Even at its darkest, Dizdar gives the movie an optimistic bounce. The movie is often shockingly funny, too.

It is a riveting and memorable performance and Kingsley finds subtlety in Logan where there doesn't seem to be any.

A haunting, poetic film, and yet it suffers two major failings. First, Murray provides too blank a slate for the audience to appreciate whatever insights a more expressive performance might have offered. Second, and far more troubling, is the way Jarmusch refuses to take his female characters seriously.

Silence feels like a career summation for a filmmaker who has spent his life exploring his faith through his work. Here is a movie about the importance of religion that will move you, regardless of whichever God you worship — or don’t.