Very, very faithful to Proof the play.

A long overdue look at the man's art and an unself-pitying and unsparing exploration of her (his daughter's) relationship with him.

Ultimately, what happens with the house is not only entertaining, but a marvel of what animation can accomplish in this day and age.

Page, who died in 2008 in Los Angeles at the age of 85, makes for a blunt but engaging narrator who’s refreshingly candid about sex and her own inner demons.

A film more psychological than passionate, more mental than emotional.

In addition to providing a textbook example of suspense, Estes also makes us want to know what happens to these kids after the screen goes dark.

It's big, exciting, ambitious, and it makes you cry in all the right places.

With a steely, unblinking resolve, Downfall stares into the abyss, but does not pretend to comprehend it.

Blanchett manages to project the idea that there’s more to this woman than mere banal evil. Cinderella may well be the heroine of this story, but if you wanted someone to have a few drinks with, you’d pick her stepmother in a heartbeat.

When it comes time to paint a view of Southern California from the perspective of outsiders looking in and expecting miracles, Nava's touch is marvelously sure, the satirical edge all covered in chrome. Nava's is the kind of talent that a low budget cannot hide. [30 Mar 1984, p.D6]

Gosling continues to prove he may the best actor of his generation. His performance in The Ides of March, following his comedic turn in "Crazy, Stupid Love" and his portrayal of a stoic loner in "Drive," proves this actor is capable of practically anything.

Catching Fire is a work of thoughtful, emotionally engaging sci-fi — everything that its predecessor The Hunger Games was not.

By focusing on his two young protagonists, Chang is able to explore the cultural differences between China and the rest of the world, resulting in sequences that are alternately humorous and eye-opening

The film does slow down at times and presents only tantalizing hints of Monk, the colorful character. Yet it's a must-see introduction for anyone who can handle their jazz without sugarcoating. [16 Mar 1990, p.G16]

This is a small, intimate movie bound to get lost in the holiday shuffle, but its pleasures are worth seeking out.

This is one mean little movie, fully deserving of some sort of warning badge to keep out the faint of heart and blue of nose. It's not, by any stretch of the imagination, pornography, so disregard the onetime X (the film is being distributed without a rating). But make no mistake: Henry will give you the creeps. [10 August 1990, p.G13]

An uncommonly playful fright machine -- a fun house factory of scares.

On paper, it may sound like high-level calculus, but on screen, The Last Mimzy is perfectly charming. Like "Cocoon" for the elementary-school set, the box transforms Noah and Emma's lives.

The best things about this movie are first-rate comic performances by Young, Sherilyn Fenn (as Assante's worshipful secretary), Kate Nelligan (Assante's absurdly faithless wife), and by Assante himself. We knew he was a great straight man, but who would have guessed he had the timing for this? He has it. And Fatal Instinct has its moments. [30 Oct 1993, p.G1]

The Neon Demon is a voluptuous provocation, a stylish free-fall down a gonzo rabbit hole that is as entrancing as it is maddening. Here is a rarity in this season of summer movie doldrums: A film that is guaranteed to elicit strong reactions.

An exhilarating visualization of Alexandre Dumas' classic novel of betrayal and vengeance.

A sparkling exercise in movie cool.

Director Coline Serreau has a deft touch with sugary material. Her Three Men and a Cradle is a slick, confident comedy that moves from point to predictable point without a surprise, but moves so gently and gracefully that it seems by the end something more than it is. [23 May 1986, p.D5]

Love makes us do all kinds of crazy things, but in Crazy Love, crazy seems too mild a word.

The Broken Circle Breakdown manages to pull off a small miracle, using joyous music and tenderness to tell a tragic story that moves you but doesn’t depress you.

A brilliant film by Lynne Ramsay.

Wins you over with this bright sense of humor and its gentle, welcome message of tolerance and acceptance.

The film, with its uniformly terrific cast, stern Gothic overtones and steady but measured pacing, is a crisp, old-fashioned delight, eschewing cheap tricks for repeated tiny pricks of unease that work up to a continuous gnawing dread.