Now a vastly larger audience has the chance to experience the masterwork of a prodigiously talented man who died far too young.

Never crosses over into meanness, and even the most satirical character has a moment of empathy.

Through Tautou's performance, Coco Before Chanel reveals the formation of an artist.

Survives its surface annoyances because Lynch's script also has ambition, heart and something to say other than love conquers all.

Romantic comedies don't have to be profound when they are as appealing as this one.

Essentially, You Don't Mess With the Zohan isn't all that different in tone and sensibility from Sandler's previous films, but he's really trying in this one, and the effort pays off.

Midnight in Paris initially seems like a departure for Allen, but the prevailing theme blends right in with the rest of his canon.

Penguins are intrinsically amusing. In general, Jim Carrey is amusing, too, provided you can overlook that whole "How the Grinch Stole Christmas" debacle. In Mr. Popper's Penguins, he and they add up to surprisingly fun family entertainment.

The story is worth telling, one that begs the question: Has anything changed?

Amped to the max, with firepower and fisticuffs flying, this is Bond as we have come to know him in the post-Roger Moore years: bigger, badder, better.

This bruising, harrowing movie would be impossible to sit through without at least a hint of light at the end of its astonishingly dark tunnel.

The protagonists of Light It Up seem strangely tender and vulnerable, and the movie, if heavy-handed at times, does a remarkable job of making their plight moving.

Equally thrilling and wrenching, the film is an absolute must for anyone who loves sports and an eloquent explanation for those who don't understand what the fuss is about.

The star is the coming together of East and West, and how art provides the medium.

Medem may have disrobed most of the cast, leaving their bodies exposed, but the plot remains as guarded as a virgin with a chastity belt. That's why Sex and Lucía is so alluring.

The magic of the film lies not in the mysterious spring but in the richness of its performances. The producers have assembled a cast with three Academy Award winners.

Might have been unbearable if Linklater hadn't filled it with so much self-deprecating humor, undercutting the pretentiousness whenever it threatens to become too thick.

Some of the creations these chefs produce defy belief (and make you wish you could jump into the screen to have a taste).

Credit goes to Richard Lester, who is much more than an action director and whose erratic brilliance occasionally transcends this material, and to Reeve, who has manfully refused to let on that he is tired of the part (as opposed to the Jedi principals, who phoned theirs in). [17 June 1983, p.D1]

Beguilingly odd.

Gets everything right.

A refined, tasteful film about pure, hard lust.

Only a very stony heart could resist its pull.

It's a fantastic special effect because it doesn't look like a special effect: The movie sells the illusion that the suit could maybe, possibly, exist.

The more preposterous Out of Time gets, the more enjoyable the movie becomes.

Bold and intrepid film buffs: The gauntlet has been thrown. Here's something you don't see every day - thank goodness.

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

Lowery has a lyrical style of storytelling that is delicate and subtle yet suffused with emotion and atmosphere. It’s gentle and pointed at the same time. Ain’t Them Bodies Saints wafts over you like a dream, leaving behind a lovely, melancholy trace that hurts.