The story was adapted by Laura Esquivel from her novel, a bestseller in Mexico. Arau, the actor turned filmmaker, tells the story with the equivalent of a saucier's night out -- the film is physically lovely, and never so sumptuous as when it is concentrating on Tita's creations in and out of the kitchen. [02 Apr 1993, p.G4]

Heavenly Creatures uses its special effects ingeniously, and unlike Jackson's previous credits (the cult gorefests Dead Alive and Bad Taste), it's a movie with serious artistic ambitions. He immerses you in the heightened, giddy mindset of these two girls so completely, you can understand why they'd fight so ferociously to defend it. It's a strange, vivid movie, with moments that capture the texture of dreams -- and the fervor of teenage friendship and romance -- with thrilling precision. [9 Dec 1994, p.G5]

A truly great and deceptively simple work, redefining the power of film.

One of the many pleasures of this beautifully composed, measured movie is how it reminds you of the power of pure storytelling -- an art that's too often overlooked in contemporary films in the rush for sensation and excitement.

As a director, Woo never hesitates, and the result is exhilarating. [22 Oct 1993, p.G6]

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 Straight Story truly is one from the heart, and it is wonderful.

The best teen horror flick ever made, an emotionally involving, sublimely acted tale of an archetypal ugly-duckling loner (Sissy Spacek, who earned an Oscar nomination) who wreaks revenge on her tormentors, with apocalyptic results. [24 Aug 2001, p.21G]

Unlikely as it seems, considering the source, Hope and Glory may be John Boorman's most affecting film. It is surely his most entertaining. [27 Nov 1987, p.D1]

Despite its star, Nobody's Fool remains a mediocre film. Adapted by director Robert Benton from Richard Russo's novel, the movie is sluggish and gray, too often using banal talk show psychology to resolve its characters' issues. [13 Jan 1995, p.4G]

A treat to anyone who already cherishes Varda's films and a perfect primer for those who haven't yet discovered her work.

This is a talky picture, based on a historical incident where the outcome is already known – yet it still proves much more engrossing than crime dramas or bank robberies.

Where Traffic stumbles is in its inability to engage the heart with the same fervor it engages the intellect.

This rich, emotionally complex movie finds Almodóvar venturing into trickier, more fascinating territory, even if his themes.

The Master has become a contest between two gifted actors trying to shout each other down. The commitment to their roles is impressive, but it's tethered to a weightless, airless movie, a film so enamored of itself, the audience gets shut out.

A remarkable movie that merits a place alongside "The Executioner's Song" and "In Cold Blood" as an unforgettable depiction of tragedy in the heartland.

It is a masterpiece of design. The animated backgrounds are voluptuously illustrated, and the action often proceeds at dizzying speed, while an elaborate fabric of subtle visual cues steer the narrative. [25 Nov 1992, p.E1]

Watching this essentially good but misguided kid slide into a hopeless future is both transfixing and heartbreaking.

Even by Miyazaki standards, Ponyo makes less narrative sense than it should, and the pat ending is a bit of a letdown.

One of the first things that strikes you about these courageous people, who constantly confront volatile, gun-carrying thugs, is that they outgrew their violent pasts and now live contented lives with their families.

It's a beautiful, strange tone poem about childhood and innocence, set in a strange but still recognizable world where the polar ice caps are melting, crayfish shacks float down rivers and enormous aurochs, an extinct breed of bison, are sloughing their way toward our tiny, adorable narrator.

A dreamy, passionate ode to freedom -- of thought, of expression, of every person's innate right to simply be.

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.

It's an action picture that's been distilled and compressed to its tightest, barest, almost abstract essence, and it's absolutely thrilling.

And so the saga of Harry Potter comes to an end - not with a whimper but with a rousing thunderclap of incident, emotion, suspense and old-fashioned movie magic.

Take Shelter is paced slowly and deliberately, which is necessary to make believable whatever is tormenting Curtis.

The Salesman doesn’t have the same precision and emotional wallop of his previous films: The plot hinges on a couple of convenient contrivances, and the first half meanders a bit.

One of the most rewarding and engaging movies of the year. Don't miss it.