This is a dark and shivery story about motherhood, a common subject for horror movies, but one that’s rarely treated with such intelligence or seriousness of intent.

The documentary also has a story to tell, and as such it builds up its drama.

The Freshman isn't big at all, but it's no bauble, and it's no genre piece. It's quite unhinged, in fact -- the film seems continuously on the verge of spinning off into madness. It never does, which is kind of too bad. But it's never dull, and it's never cute, and it's not at all what Brando thought it was. [27 July 1990, p.G5]

If The Score isn't quite in the same league as the classic "Rififi" or even "Thief," its single-mindedness still makes for a refreshing change from the preposterous bloat of most contemporary action movies.

But as Western analogies go, Curse achieves an emotional fervor more in keeping with ancient Greek mythology than Elizabethan theater.

The Visitor is a small movie, but its emotions could not be writ any larger.

The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.

The acting, along with a wonderfully witty script and more madcap plot twists than a gaggle of Hitchcock films, lets Ruthless People ruthlessly overshadow its summer comedy competition. In Ruthless People, Midler at long last is allowed a full stretch of her talent and is given a chance to be both the actress and the funny lady. [27 June 1986, p.D8]

A perfectly cast Keanu Reeves pokes deadpan fun at himself in the role of Justin's New Age dentist, who hypnotizes the kid and encourages him to find his inner ''power animal.'' And Vince Vaughn, in a rare straight turn, is excellent as Justin's high school teacher.

What makes this documentary worth seeing is the sensational courtside footage taken with IMAX cameras, which bring a whole new way of seeing the game to fans who don't get to sit in Jack Nicholson's section.

Never becomes cloying, because although Agresti does not lose sight of the great sadness at the center of his tale, he resists the temptation to overplay its bigger moments.

In addition to the interesting camera work, the documentary's undeniable appeal comes in how close Longley gets to the characters, who are all male.

What distinguishes The Orphanage are some spare but fiendishly well-placed shocks that give the film an extra sense of danger: You can't take comfort with this one assuming you know what lurks around each corner, because you don't. Trust me.

Tilda Swinton is the star of We Need to Talk About Kevin, and her performance is so complex and volcanic and transfixing that all of the film's flaws melt away.

Yes, the Muppets are back with a yo-ho-ho and a ship full of fun. Director Brian Henson transforms Robert Louis Stevenson's classic into a splashy spectacle with sword fights and flamboyant calypso numbers. [16 Feb 1996, p.6G]

At times it doesn't make a lick of sense, and at times it's as shaky as a Poindexter memory. But it's full of goofy developments and paranoid fantasies; it's the perfect movie for its place in time. [14 Aug 1987, p.D1]

A rare movie, one that manages to be both quiet and electrifying, touching and unnerving. But it is not a great movie, even though its stars deserve for it to be.

This is a movie that manages to be light and funny and still transcend age, background and culture to treat with compassion our ability to behave in our own worst interests and still nurture hope for the future.

It's a testament to the power of the story -- and this engaging adaptation -- that leaving Hogwarts is tough anyway.

While Cacoyannis' film may not be totally faithful to the master's pen, for literature students and theater lovers, this Cherry Orchard is a rare treat.

It may not get top billing, but glorious music is the star of Songcatcher, an intriguing and often lovely film.

The Great Mouse Detective is destined to be a classic -- not just for the old-time quality of the animation, but for its general superiority over such recent Disney efforts as The Black Cauldron. [16 July 1986, p.D4]

Filled with conspiracies, intrigue and the suggestion that modern-day society is purposely designed to drive us a little nuts, The Manchurian Candidate is a paranoid fantasy for our time.

The performances are all terrific - Stillman gets his actors to latch onto his absurdist vibe, then gives them wonderfully rich dialogue to play with.

Point Blank is as disposable as a feature-length episode of TV's 24: The movie is all adrenaline and excitement, and it doesn't really stay with you. Just try to tear your eyes away while you're watching it, though.

Above all, this story is about the peril that lurks under life's surfaces.

Oliver Stone tried encapsulating Alexander's life into one movie, only to discover the task was impossible. Bodrov knows better, using Mongol -- the first of an intended trilogy -- to center on Genghis Khan's formative years.

Skillfully straddles an intriguing line between reality and fiction.