Corinne's journey begins with an act of blind faith. The movie ends, but you have a palpable sense that the journey does not.

The Golden Door feels, at points, like a silent film - a silent film with CinemaScope vistas and dazzling, saturated color.

The film gracefully telescopes a lot of information in its brief running time.

Affleck is more interested in the people in the midst of the action than he is in the action itself, and that gives this accomplished genre piece considerable and compelling depth.

The filmmaker, whose career took off with a very different sort of Holocaust film, 1990's Oscar-nominated "Europa Europa," understands that most of these stories arrive at a point of unspeakable, incomprehensible horror.

While there are similarities to the hardscrabble saga of "Angela's Ashes," Frears' film avoids the mawkish pitfalls of Alan Parker's screen adaptation.

Rife with dark humor, Little Otik presents a cautionary variation of the creation myth, and a warning that tampering with the natural order of things may not be such a wise idea.

Has an odd magic about it - the magic of Darger's singularly peculiar dreamworld.

Ballet 422, a documentary verité, is not for everyone. The expected conventions of plot, dialogue, and action are all but missing, and some viewers may find it slow. But for dance lovers, it is a rare visit to the workings of one of the finest ballet companies in the world.

With its moody, noir lighting and poetic voice-over, Flame rehearses virtually every element of the classic genre piece: violence, sex and romance, gunplay, spies, betrayals, a femme fatale, and a murderous Gestapo officer.

The movie is a winner. One of the commuter ferry men declares, as he starts plucking people out of the water, "No one dies today." And no one does. If that isn't hopeful, I don't know what is.

Into the Abyss is a true-crime drama, to be sure, but in Herzog's hands it becomes something much more: an inquiry into fundamental moral, philosophical, and religious issues, and an examination of humankind's capacity for violence - individual and institutional.

Einsteinian, Kubrickian, Malickian, Steinbeckian - Interstellar, Christopher Nolan's epically ambitious space opera, is all that. And more. And, alas, less.

Bridge to Terabithia the movie, like the book, is buckets-of-tears sad. Director Csupo and company manage to get that - the simple power of a story about kindred souls, about loss, about the limitless possibilities of a lively mind - just right.

Serrill has shot and edited The Heart of the Game in straightforward documentary style, with a narration by the rapper and actor Ludacris. But the dramas going on here, on and off the court, more than make up for any lack of flash.

Exceptionally graceful and accomplished, Ozon's film challenges our received notions of normalcy, intimacy, and love.

Amusing, compelling and technologically fascinating tale.

Washington blows you away. To say he gives the performance of his career is an understatement.

One of those movies where it's impossible not to find yourself cheering for the scruffy underdog hero.

Thanks to a witty script and the recognizably goofy but absolutely earnest delivery of Black, Kung Fu Panda has a human soul, too.

In Order of Disappearance has an utterly unique feel, a certain Scandinavian crispness that's impossible to duplicate.

Vibrates with exuberance and erudition.

The dialogue is tart, and likewise the bluesy score (a departure for Disney stalwart Alan Menken, working here with City of Angels lyricist David Zippel). And it's these elements that vault Hercules into the realm of hit and myth. [27 June 1997, p.3]

For the most part, Michael Winterbottom's well-intended film, the true story of an idealistic journalist and his gallant wife disinvites emotion by focusing on process at the expense of passion.

A riveting documentary.

A first-rate horror film, of which there aren't many. [17 Jun 1954, p.19]

A slow and knotted-up film, but one imbued with a keen sense of what motivates people beyond mere avarice.

As always, Freeman is a one-man charm offensive.