A languorous, funny and lovingly detailed memory film.

Looking for Mr. Goodbar could have been just another sensationalist movie version of a shocking best seller. But Richard Brooks has filmed it with power, seriousness and integrity. [24 Oct 1977, p.126]

A stunning crime drama that shares its protagonists' rabid attention to detail and love of adrenalin.

DiCaprio is astonishing.

Steve Martin and Eddie Murphy are both in peak form.

Summer hasn't arrived, but the funniest riff on a summer movie genre has already landed.

The meal is more than mouthwatering -- it's Dinesen's metaphor for the transcendent power of art. This bountiful movie, like the feast itself, can turn your heart. [14 March 1988, p.61]

It's not exactly news that pro football is just big business with the cleats showing. But North Dallas Forty brings the news home in fresh, funny and powerful ways. It's a bitter comedy of Sunbelt manners that packs a substantial emotional wallop. Director Ted Kotcheff, who stays faithful to the spirit of the novel by Peter Gent (an ex-Dallas Cowboy), captures the vulgar, born-again spirit of nouveau riche Dallas society, but he never condescends. The cogs caught in this corporate wheel always remain sweatily human - this is a locker-room satire with soul. [6 Aug 1979, p.55]

Watching Moore battle the heavy odds may be formulaic fun, but it's genuine fun, and the formula is classic.

Full of bravura moments and high-wire performances.

The payoff comes at the end, when the myriad threads pull together with a shock like a noose tightening around your neck. Built with old-fashioned craftsmanship, Lone Star is not a movie you'll quickly forget. [8 July 1996, p.64]

By sticking resolutely to the facts of the most amazing rescue mission of all time, the movie builds tremendous suspense, even though most people will know how it came out.

A great horror movie is like a good shrink--and a lot cheaper, too. It purges us through petrification. That horror movie, thankfully, has arrived. It's called The Orphanage," and it is seriously scary.

The beauty of this extremely clever movie, directed with fleet, robust theatricality by John Madden, is how deftly it manages to work on multiple levels.

It has the feel of a classic coming-of-age story. It's the sleeper of the summer.

Tropic Thunder is the funniest movie of the summer--so funny, in fact, that you start laughing before the film itself has begun.

Blake Edwards's riotous, deeply felt "10" proves just how many fresh turns are left on this well-traveled road and demonstrates again that a gifted writer-director can convert the most conventional commercial formulas into a movie as personal, in its way, as "Apocalypse Now." Edwards provides the side-splitting slapstick one expects from the maker of five "Pink Panther" movies, but he gives us something more: an introspective, bittersweet comedy of manners about a man whose voyeurism prevents him from seeing himself...This is the sort of classical Holly wood comedy that will still look good in 30 years. [15 Oct 1979, p.133]

Filled with funny, gritty Tarantino lowlife gab and a respectable body count, but what is most striking is the film's gallantry and sweetness. Tarantino hits some new and touching notes with Grier and Forster.

Desplechin is an inspired impurist. His Christmas Tale is untidy, overstuffed and delicious: a genuine holiday feast.

The movie puts us in Maria's shoes, taking us step by suspenseful step through her physical and spiritual ordeal.

It sounds grimmer than it plays, thanks to Jenkins's sardonic, deadpan humor and the superb cast, who invest these damaged characters with rich, flawed, hilarious humanity. This bittersweet X-ray of American family dynamics may not be a Hallmark-card notion of a holiday movie, but it's one any son or daughter can take to heart.

World Trade Center celebrates the ties that bind us, the bonds that keep us going, the goodness that stands as a rebuke to the horror of that day. Perhaps, in the future, the times will call for more challenging, or polemical, or subversive visions. Right now, it feels like the 9/11 movie we need.

Forest Whitaker, uncorking the power that he usually holds in check, gives a chilling, bravura performance as Ugandan tyrant Idi Amin, whose bloody regime slaughtered more than 300,000 people. This intelligent, sometimes gruesome thriller is based on a novel by Giles Foden.

Tex, a Walt Disney production, makes good on that studio's promise to return to quality family filmmaking. You don't have be 16 to be moved by it -- having been 16 will do. [02 Aug 1982]

The images of war that Folman and his chief illustrator, David Polonsky, conjure up have a feverish, infernal beauty. Dreams and reality jumble together.

An extraordinary movie. [5 Nov 1984, p.74]

A hauntingly beautiful tone poem.

It may be the most original American movie of the year. It's funny, fast literate and audacious. [01 Sep 1980, p.45]