Surely one of the funniest movies ever made. [12 Sept 2001, p.53]

The Last Days is full of children and grandchildren. This idea of regeneration is a common thread that connects the stories of the five survivors, and provides the documentary with its unexpected warmth and redemptive power. [05 Mar 1999, p.51]

Director James Whale's masterpiece is the definitive monster flick, one of the scariest films of all time. [04 Nov 1994, p.97]

Kean inherited these subjects from his earlier documentary Swimming in Auschwitz, and has said that gender informs the film – the women are particularly attuned to the emotional nuance of the survival story, which comes through beautifully.

The more-is-more approach to superhero movies is usually a deadly mistake, but it works nicely in the animated Spider-Man: Into the Spider-Verse.

A spare, meticulously crafted movie.

Even moviegoers who don't own Nintendo...will thoroughly enjoy these superheroes. And chances are, this is only the beginning of their film exploits.

Lean on Pete is life affirming in that it affirms life is hard and unforgiving.

The movie clicks, and given the sorry state of movie comedy, its ability to be consistently funny stands out. It is expertly, briskly paced — shout out to the judicious and effective editing of Jamie Gross.

It’s a remarkable performance by McDormand, matched by Rockwell.

It’s barbed, bighearted, and brave.

The small miracles that do occur in The Mustang feel real, and well–earned.

Cold War, a love story about music and musicians, is for people who found A Star Is Born way too cheerful and optimistic. It’s pretty downbeat, but it’s also another black-and-white (subtitled) marvel from Pawel Pawlikowski.

They Shall Not Grow Old avoids geopolitics to concentrate on the lives of the common soldier and the reality of trenches — the horseplay, camaraderie, boredom, disease, squalor, and terror that were all part of life on the front. It’s a sobering, moving success.

It is a portrait not of grinding earnestness but of a penetrating sincerity, the kind that reduces the cynical, the skeptical, and the callous to tears.

Can You Ever Forgive Me? charts the offbeat alliance and ultimately the friendship that develops between the Hock and Israel, a bond that exists somewhere between proximity and affinity.

Love jones may be the first to show black 20somethings simply going about their lives - searching for love, falling in love and messing up love without their ethnicity being an issue. [14 Mar 1997, p.54]

A movie that could have been about loss and defeat becomes something else — a testament to spiritual stamina, to the power of family bonds and their importance to homes, to streets, to neighborhoods and to cities.

Whitney offers an informed and moving portrait of a complex, talented woman who was poorly understood, and often cruelly judged.

Ali and Mortensen make the friendship feel real, using some unexpected tools from Farrelly's kit. His comedic instincts help the movie tiptoe through some dangerous cultural minefields.

Pulling us through all of it is Place, who imbues her character with a touching persistence, and gives striking depth and dimension to this “regular” woman, who used to be a regular.

Often fascinating, and sometimes even moving. There are lessons here about the cycle of life that can only be driven home by the real, random, and sometimes cruel dictates of fate.

Buster Scruggs, it seems, is about not just the Old West, but The West in a larger sense.

Writer-director Bo Burnham is after something different here, a complex, thoughtful and funny look at the way the internet can insert itself into the coming-of-age search for identity.

Black Panther sticks to Marvel orthodoxy, and yet does so with a nearly all black cast (Martin Freeman and Andy Serkis have small roles), and with strikingly Afro-centric production design. In the process it freshens and enlivens the Marvel brand.

Nolan fractures the narrative so that it loops back on itself — we see the events from the perspective of different characters and from different chronological vantage points, though the story coheres by movie’s end.

It is often a captivating visual marvel, using newfangled special effects in ways that aspire more to the poetic than the kinetic.

Spielberg and Co. are obviously excited to be making The Post, and that palpable enthusiasm makes the movie feel so unusually lively for a big-studio movie. It’s nimble, crisp, passionate, full of verve and invention.

For Iannucci, who loves to mock the craven, unprincipled pursuit of power, the scenario is an antic delight and plays to his talent for hectic plot turns and (pardon the expression) rapid-fire dialogue.

The Big Sick is romantic and funny, but the movie is way too sprawling and ambitious to be contained by the words romantic comedy.

It's nice to see Scorsese making a cameo here, a kind of symbolic olive branch that may herald an overdue armistice. At last, it's OK to like Marty and Bob. [16 Sept 1994, p.53]

The elegiac air that surfaces here and there in Bathtubs blends nicely with Young’s own final days on Late Show, reading his separation papers and wondering how to look for a job in his 50s.

Ben is Back, operating with the flexibility of fiction, flirts with the idea that a mother’s intuition and love can be decisive, even as it acknowledges the pitiless, relentless nature of the disease. Or maybe all the movie wants to propose is that miracles — rare as they are — can happen.

It’s a good, quiet performance by Teller, and also by Bennett — her Saskia is welcoming but wary.

The movie is an inventive and shrewd satire of the way social media can be used to describe and distort the lives of users.

Suffice it to say that as James is pushed into the real world, the real world is more than willing to meet him halfway, in a way that is touching and charming, and at the same time plausible.

Lucky, written as a tribute to Harry Dean Stanton, ends up being a fitting cinematic eulogy to the late actor, who died last month.

In essence, it shows that what the “horse soldiers” did was pretty remarkable — efficient, daring, effective.

Yeoh’s fantastic as usual, making an impressive series of moves while not disturbing a single hair on her period Joey Heatherton hairdo.

A Man of His Word...is not a lecture. It conveys the pope’s concerns, certainly, but it also conveys his charm — his gentle, personal manner, his sense of humor (he quotes from the St. Thomas More joke book), his “charisma.”

Suffice it to say, there is a good deal for Buckley to do, and she does it. In a year of memorable and unnerving female characters, she makes Moll stand out.

The acting is fine throughout, and director Labaki (she plays Zain's lawyer) has a genius for handling untutored performers like Al Rafeea.

At first the flippant tone of some of these scenes seems a bit off, but the movie (full of narrative curves) eventually makes tonal sense. The movie’s epilogue sends us out on a flat note, but Kirke, and her character, make an impression.

The movie is a little too postured.... Even Baby’s busy backstory threatens to make him a collection of quirky details. But all of that artifice is probably part of the point, best appreciated by generation Ear Bud and its preference for curated experiences.

I wasn’t sure, after the tedium of Infinity War, that Marvel could wrap this up in a satisfying way. Turns out, it was a snap.

Some are born great, others achieve greatness, and in the documentary Chasing Trane: The John Coltrane Documentary, we meet a musician who falls squarely in the latter camp.

Mostly what lurks around the edge of the action isn’t danger, but affection.

Hamm is in his sweet spot here as a former hotshot now emptied of ideals and passion. Pike plays a woman who trades on being underestimated by men, and supporting pros like Whigham and Norris obviously enjoy working with better-than-average dialogue.

The story is nonlinear, a collection of images that can suddenly assemble into an emotion.

The ability of political power to impose narratives, says Chappaquiddick, has always been conditional on our willingness to believe them.

This is another fine performance from Hall, who's given a good character to play by writer-director Andrew Bujalski.

In general, Coco is the kind of first-rate technical production you expect from Pixar. On the other hand, it often feels more frantic than exciting, and it counts on moments of humor that often do not materialize.

Director Ferenc Török departs from the High Noon arc, and finds a way to end the movie with an invocation of violence, rather than an eruption of it. His final image, gruesome and evocative, is unforgettable.

Branagh the actor finds a nice balance between Poirot’s colorful flourishes and his moral seriousness. Branagh the director gives the movie the same balance, and wants the audience to have as much fun as the actors, which is true more often than not.

Paul Thomas Anderson’s Phantom Thread is a cockeyed love story that starts as weirdly as it ends.

It is, in some spots, an emotional film thanks to the intimacy it shows between Gottfried and his family, but avoids being too saccharine. Thankfully, the comedian’s foul mouth probably helps the film from going too far into weepy territory.

Writer-director Ari Aster excels at making these old-school horror movie moves (he gets great mileage out of seance scenes), and the intensifying atmosphere of dread is thick. And he layers on effective, original ideas.

It’s easy enough to guess where this is going, but the movie gets the details right, and the relationships play out in a satisfying way, aided by Merchant’s consistently funny writing and light touch.

Seal, though, makes for a poor fall guy. Liman had it right in that first scene: The turbulence in Seal’s life was of his own making.

Victoria & Abdul, though, is Dench’s show. She wrings dignity and humanity (and a good deal of comedy) from Lee Hall’s broadly drawn scenario, much as she did in this movie’s cross-cultural bookend, "The Best Exotic Marigold Hotel."

Hearts Beat Loud (despite is gooey title) has a bittersweet tone that tells us that Frank’s dreams are mostly wishful thinking. In that way, Hearts is of a piece with other movies by writer-director Brett Haley, wherein the art has the power to ameliorate rather than transform.

Unlike with the series' other sequels, this one finally feels like it was worth the wait.

There are a number of movies about addiction scheduled to be released this fall, and although The Oath isn't mentioned as being among them, maybe it should be.

Del Toro somehow manages to keep the deeply weird mash-up of ideas and images coherent, unified by style and mood.

It’s a tough two hours, but director Zvyagintsev invites engagement by giving us more than a chronicle of dysfunction — he’s searching for its source.

Sometimes these anecdotes show courageous and admirable striving, and a genuine love of science. Sometimes they show something less inspiring – the way systems can be gamed by competitors whose specialized knowledge of rules combine with tactics and strategies that give them an advantage, so what's being measured and honored is not always aptitude and innate genius.

A delightfully schlocky horror comedy about a race of vicious, bloodthirsty invading aliens who look like circus clowns - but with very sharp teeth. [15 Aug 2013, p.C01]

Lady Macbeth is a mash-up of a different sort — it’s not strictly Shakespeare, but based on a Nikolai Leskov novel that transplanted elements of the play to 1865 Russia. Like "Shanghai Knights," this film adaptation is a period drama, but the actions of the woman are faintly anachronistic — modern attitudes transplanted into 19th-century characters.

Churchill, by way of Darkest Hour, hands the actor some of the best speeches of his career, and Oldman brings them vividly to life.

If nothing else, Darren Aronofsky’s latest film, mother!, will get you talking. Part psychological thriller, part anarchic horror flick, it is one of the strangest movies to come from a major studio in recent years — and Aronofsky seems to revel in that confusion.

There's something to be said for the movie's heavy pour of mommy noir — a jigger of Bombeck, a dash of Highsmith. It's a cocktail with a kick.

Phoenix has a way of drawing most of the camera's energy toward him, but Reilly, in his own mysterious and quiet way, can hold his own with anyone, be it Ricky Bobby or King Kong.

At every turn, Starr's situation gets more nuanced and more engrossing, and in the hands of director George Tillman Jr., the movie maintains a confident, sweeping scope without every losing command, or its nerve.

What Kruger does is remarkable — showing Katja paralyzed with grief, but doing so in a way that does not paralyze the story.

The title promises something of a biography, but I left the movie wanting to know more about Stallworth.

It’s a movie touching on labor issues that some may find a bit labored, but for the patient viewer there are insights — Leigh is giving us a history lesson that makes some pointed nods toward the current Brexit debate.

It's Close who nearly rescues The Wife, grabbing control of it in the crucial final moments, managing to transcend the script to suggest a more complex portrait of Joan, whose life choices form their own narrative, with their own reward.

When we finally leave the hotel, the movie’s energy is spent.

[Cruise] makes the movie fun to watch with his age-defying eagerness and death-defying stunts that bring a reasonably human scale back to blockbuster action, benumbed of late by the low-stakes digital fakery of special-effects movies.

You could call Juliet, Naked a romantic comedy, and you could probably predict with some accuracy how the relationships play out. But it's the details here that count, and they paint a substantive and truthful picture of middle age, and the way it is acquainted with regret and failure.

The story circles cleverly back on itself, putting an original spin on the familiar tale of the burned-out investigator reckoning with the defining event in a checkered career.

The movie has things on its mind, like the expendability of labor in the modern workplace.

The actors make the most of Baumbach’s lively script.

The Disaster Artist really hangs on James Franco’s performance. He’s an uncanny mimic of Wiseau’s legendary accent and mannerisms, but what he really nails is Wiseau’s complete lack of self-awareness.

One of the movie’s goals is to grant neurodiverse subjects their full measure of humanity, and to that end, Dina is candid on the subject of sex, where the movie also finds its loose narrative arc.

Marshall overcomes some early stiffness and flat-footed storytelling and evolves into an engaging courtroom drama, where witness-stand theatrics and Perry Mason flourishes give the movie needed narrative momentum.

This is a funny, affectionate and surprisingly touching film.

Also good is Ryder, who made such an impression as the perfect sister in "Little Women." Here, she is quite a scary little psycho. Or as scary as any actress can be who is wearing a bonnet. [20 Dec 1996, p.74]

You see that Cooper has taken the frayed ends of American culture and knitted them together — male and female, urban and rural, folksy and hip, rich and poor, finding common ground through music. You see songs move through different musical idioms, and you see the power that can have, as long as people are willing to listen.

Kahn surveys artists, dealers, auctioneers, and gallery operators to provide a synopsis of the New York art world, and is at its most interesting when profiling artists who represent differing attitudes toward the way money affects their work.

Here, Leitch uses brevity to do for witty action what it famously does for wit alone.

It's a supremely goofy movie, and one that's almost hypnotically heedless of everything that is currently fashionable in Hollywood, especially in the inspirational teacher genre. You won't be inspired. On the other hand, you won't be bored. [19 Apr 1996, p.42]

I’ve never seen anything like it, and I would have found it persuasive had I not read the 2007 Vanity Fair article based on interviews with the young men in prison.

Their personal stories are just as interesting, and taken together, they add insight into our nation’s unusual political moment, equal parts instability and possibility.

Finley ends with a poetic epilogue that draws themes into focus, and gives voice to them. I’m not sure the movie fully earns it, but it does grab and hold your attention, thanks to the frighteningly good rapport between Taylor-Joy and Cooke.

The movie is wildly uneven but lively and timely – in its own surreal way (nods to Idiocracy and The Island of Dr. Moreau), it stands as one of the few Hollywood movies to show an awareness of chronic low-wage pressures in our full-employment economy.

The actress had legendary power to charm men and women, and we suspect one of them may be Bombshell director Alexandra Dean. Early on, we hear biographers and fans tell us about something that “probably” happened, or that “may be apocryphal,” but it all becomes part of Bombshell‘s print-the-legend approach.

Leave No Trace, is less story-driven than Winter’s Bone (which made a star of Jennifer Lawrence), more lyrical, more attuned to the melancholy of the novel and its quiet portrait of a young woman caught between dependence and independence, love and fear.