A droll gem that celebrates movie love with feeling and deadpan humor.

Director William Friedkin, with his scrupulous attention to detail, his determination to convey a sense of realism, achieves such startling effects that one comes away almost completely convinced of the possibility of demonic possession. His movie rushes headlong towards a blood-curling climax (the actual rite of exorcism), a series of scenes so powerful it leaves the audience limp and exhausted.

Bar-Lev has created a film remarkable in its ability to capture both the worst and best of human nature.

Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.

Streep is perfect, as per usual, but the showy orchid role goes to Cage in an Oscar-worthy tour de force. He pours his body into Charlie's slumped frame of mind and creates a character churning with endearing contradictions -- the unforgettable nebbish.

Kelly is superb as dancer and comedian, but a little less than that as a singer of Gershwin songs. Leslie Caron, who dances like an angel, is no beauty, according to Hollywood standards, but she is endowed with great grace and personal charm. She is an exquisite dancer. An American in Paris, in short, is definitely a picture to see.

Kechiche takes his time, allowing us to know the characters as if we live next door. But be warned: for those who come to feel like a member of the family, the unexpected end may seem strikingly unfair.

The Graduate, the erratic, jet-age film at the Coronet and Lincoln Art, has two standout performances - one from a young actor, who looks as if the worries of the world rested on his sawed-off body, and another from a director, still new to movies, whose spit and polish technique at times borders on genius.

The movie’s spell is solid, even if it doesn’t soar to the heights it could.

The result is a visual treasure that successfully blends deadpan quirkiness with a wry realism rarely seen in any film, let alone one for children.

It is to Padilha's enormous credit that he steadfastly kicks aside our own culturally imposed frames of reference, insisting that we see the truth, and the humanity, within this very real story.

One of the sharpest satires in years.

Strong stuff, compelling drama.

Rough around the edges, but effectively presents the quandary of women during the repressive religious regime.

Ale's community is like a band of pirates - collegial, bickering, larcenous and supportive - and his life within it is both heartening and heartbreaking.

There's something uniquely gratifying about watching nonprofessionals deliver totally natural performances.

An extraordinary, must-see examination of what humans do to killer whales so that these amazing creatures can become one more entertainment.

The story itself is a smooth little gem.

If only this were a media-fueled tall tale and not one poor creature's lifelong nightmare.

If he has overlooked your favorites, have faith: There’s plenty left in the trunk for that promised encore.

A perfect blend of summer action, a big movie with a deeply personal story.

Avatar clears the hurdle in terms of being optical candy. Its story, though, is pure cheese.

Kind of like all the other characters Annette Bening plays, year after year - never to nearly enough applause.

The film is best suited for dance buffs excited by an unexpected congregation of artistic pioneers.

Most crime stories are content to simply exist, wallowing in their own base violence. But David Michôd's fierce debut takes the genre apart, finding a reason for the madness that propels it.

All the actors are wonderful, including Sacha Baron Cohen as a villainous Inspector.

Using telephoto lenses to bring us close to the characters, Techine directs Wild Reeds with an impeccable sense of tempo, unhurried by narrative pressures. The actors seem to find exactly the right, internal rhythm for each scene the leisurely rhythm of people discovering each other and discovering themselves. This is certainly one of the year's best films. [30 June 1995, p.54]

As full-length toy advertisements go, you really couldn’t ask for more.