As Greene, Don Cheadle - explosive because you've never before seen this model of actorly restraint - is a one-man fireworks show in Talk to Me, Kasi Lemmons' rollicking, resonant portrait of the real-life ex-con who improbably became a civic icon.

Rivette's slow-moving but seamless study of the rituals of courtship has a disarming grace, even as its downcast hero, Depardieu's Gen. Armand de Montriveau, limps around stiffly.

A film that returns the director to the blunt and cutting honesty, pungent observation, and sharply targeted humor that made him so appealing in the first place. [16 Oct 1996, p.D01]

To be sure, there are goofy flourishes here, the in-jokey, left-field rummies that are the Brothers Coen's stock-in-trade. But this is altogether a quieter, more philosophical sort of endeavor.

A gossamer tale about a heavy subject -- a passive creature who slowly emerges as the active author of her own life.

Mountain Patrol is breathtakingly beautiful, breathtakingly brutal and simply breathtaking.

Ozon has crafted a near-perfect film, a mournful, moving kind of cinema poetry.

Rife with nightmarishly violent and horrific behavior. It's intense, graphic, frightening.

A disarming, funny and animated Al Gore, once a robot among presidential candidates, proves himself a rock star among environmental activists.

The film speaks to fundamental issues of history, truth, and the philosophical conflicts of humankind.

It's a tearjerker, sometimes, and sweetly funny at other moments. It's near perfect.

Eden is the kind of movie that hits you when you least expect it. Just when I thought it was a mess, its aimlessness began to make complete sense.

Manny & Lo, wonderfully photographed (by Krueger's brother, Tom) and full of telling detail, is a wry, intelligent picture with a sweet, but hardly saccharine, story to tell. [06 Sep 1996, p.03]

A breathtaking, disturbing look at urban angst and the emptiness of youth culture.

Boasts another formidable and fine-tuned performance from the great Charlotte Rampling.

Though one gets a sense there is part of the story Marks isn't telling, we do pay attention to the man behind the curtain.

The accomplishment of The Eel is to be both sardonic and compassionate - often at the same time. [23 Oct 1998, p.16]

Mr. Holmes is about how the past defines us. It is also very much about regret and trying to put things right.

Cats is many things: a film diary of an odd-couple relationship, a profile of a forgotten man who slowly reconstructs his past, and the transcendently moving account of a man on the margins who gets reintegrated into society.

Disarming, alarming, and more than a little impressive, Shults' movie was shot in his mother's Texas home, and the thing plays like a cross between Eugene O'Neill and a slasher pic. (It's cut like one; the soundtrack makes you feel jumpy like one.)

Late in Looper, when a highly telekinetic kid starts levitating things, it really does look like Christopher Nolan had wandered onto the set and taken over.

I love this movie, and I love the pride, spirit and sportsmanship of the kids who represent the best of American pluck and luck.

The Fighter is funny, ferocious, sad, sweet, pulpy, and violent. Sometimes, all in the same minute.

Guadagnino, who directed Swinton in the 2009 Italian gem "I Am Love," has kept the core premise - and the sensuality - of Jacques Deray's original. (Delon and Schneider go skinny-dipping, too.)

"Shrek" is a scintilla funnier, "Toy Story 2" a hair's breadth more poignant, but "MI" is every bit as imaginative and lovable as these other contemporary animation classics.

Although Me and You and Everyone We Know requires patience on the part of the viewer - to get past the faux naivete of its grown-up characters, to get past its deadpan arty tone - Miranda July's feature debut is worth the time.

Stop-Loss carries the emotional force and propulsive drama of the quintessential soldier's story.

Hugely affecting - and reflective and witty.