It is a gorgeous triumph - one lion in which the studio can take justified pride. [24 June 1994, p.03]

This unsettling, shaggy, surrealistic pillow of a movie - a mixed bag more funny-strange than ha-ha.

Miller and Futterman tell their story with plain, uninflected film language, permitting the ambiguities to surface. Theirs is not the anti-capital-punishment tract of Richard Brooks' excellent 1967 film "In Cold Blood." It is a story about an accomplice to crime who lived to tell the story.

A profoundly unnerving historical document.

At its satirical best, Things to Come takes aim at some of the sacred cows of French academia, showing how the posturing of today’s radical kids seems to repeat the attitudes their parents had in the '60s.

Sustaining illusion with marvelous grace is, in a nutshell, exactly what Anderson is all about.

This is a complicated story, but it's efficiently laid out by Poitras in this smartly edited project. She has posed Citizenfour as the final piece of a post-9/11 trilogy that began with "My Country, My Country" (about the 2006 elections in Iran) and "The Oath" (about Guantanamo).

This is a documentarylike film about a man who creates a castle in the air and then moves right in, the "Harold and the Purple Crayon" of the workplace.

A heartbreaking elegy to mature love that honors the lovers and the long, neurodegenerative tango that is their last.

The matchless Alberto Sordi - a contemporary of Peters Sellers and a progenitor of Steve Martin - stars as the buffoon Everyman, Antonio Badalamenti, a perfectly poised figure destined for the pratfall.

It is a damning indictment of the individuals and institutions who made money while customers lost their shirts.

It's aimed at adults as much as children, with jokes that work on multiple levels, and contraptions.

Under Hooper's deft direction, it packs the suspense of a thriller.

And Bridges? What's there to say about a man who makes it look so easy, and who - in one breathless, pivotal scene - runs through a range of emotion like a wild pony running across the land. Genius, any way you look at it.

The exhilarating film pays tribute to Buster Keaton's "The Balloonatic" by way of its slapstick, and to Hayao Miyazaki's "Howl's Moving Castle" by way of its watercolor palette and traveling domicile.

Toy Story 2, like its forebear, will stand the test of time.

Brooklyn is that rare period drama that doesn't lose itself in its dogged re-creation of another time.

It's a quietly powerful work, pulsing with gentle humor and a gripping sense of imminent calamity and dread.

Jackson's superior sequel to last year's first installment in his Rings cycle - resurrects the beloved Gandalf (majestic Ian McKellen) and rejuvenates the audience, too.

L'Enfant begins with the birth of a child, but its real concern is the moral rebirth of a man.

Yun's performance is remarkable. The journey Mija takes is painful and hard and - for us, watching - sublime.

With its improvisatory score (drummer Antonio Sanchez provides a hustling backbeat throughout), its seamless shots, its leaps into the surreal, and then back again into the excruciating, embarrassing real, Birdman ascends to the greatest of heights.

In his own profound and ingenious way, Panh has brought the pictures and the thoughts together again.

It's a cinematic feat, an art lover's dream, but as a moviegoing experience, Alexander Sokurov's Russian Ark is something of a letdown.

A frightening portrait of corruption, cynicism, intimidation, greed and violence, Gomorrah is tough stuff.

A feast for the eyes and succor for the soul.

It's a lush, lovely dreamscape of a movie, steeped in familiar vernacular (film noir), yet capable of shooting off in totally unfamiliar, surreal directions.

The film...has an amazing quality of life, animation and hope. [07 Dec 1962, p. 27]