Lindholm's mastery of film form is matched by his willingness to engage with some of the most intractable moral quandaries that haunt contemporary life.

Funny, furious, and full of front-office drama.

A feel-good movie, in the absolute best sense.

I’m Not Your Negro is an unforgettable work. Baldwin’s words – eloquently spoken by Samuel Jackson – will haunt you.

One of the great war movies - or antiwar movies - of all time.

There is nothing sentimental or picturesque about the performances or imagery. The word that best describes both is elemental.

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

It is as breathtaking a moral thriller today as it was in 1949. [16 July 1999, p.10]

It's action opera, sword-and-sorcery song-and-dance, and it's a heart-pumping, jaw-dropping thrill. OK, so I kind of like the thing.

Witty and wonderful, Fantastic Mr. Fox is the perfect Thanksgiving entertainment.

A baseball movie, a stranger-in-a-strange-land movie, a movie about real people facing real challenges in the real world, Sugar is all that and more.

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.

If you want to expose your children to a work of art with real soul, you could do a lot worse than Kubo and the Two Strings.

The Conformist has a decadent visual beauty about it that's breathtaking. But as striking as Bertolucci's classic looks, there's even more powerful stuff in the storytelling.

With its knowing take on men, messed-up romance and music, is like one long, hook-filled pop song for the eyes.

Because the filmmakers have framed this fame game so much like a conventional love story, the audience, like Goodwin, is seduced by Van Doren's pretty face. This is precisely what the film warns us to guard against, so the experience of watching Quiz Show is supercharged. As the wedge is driven in between what we think (lying is bad) and what we feel (that nice Van Doren boy can't have lied) - Redford and Attanasio make us aware of how readily we accept style divorced from substance. [16 Sept 1994, p.03]

It's strong stuff.

Nebraska is not a breakneck, screwball farce - although it has its moments, like the comical heist of an air compressor from a farmer's barn. Payne's film is loping. It's deadpan, poignant, absurd.

This is the breakthrough work of one of world cinema's most visionary artists.

A beautiful, head-spinning mystery that requires keen attention - and rewards it with a tricky and poetic payoff - The Double Hour is a topflight Euro thriller right up there with "Tell No One."

It's inspired fun.

The worst of times has brought out the best in Spielberg, and it is the delicate narrative balance that makes Schindler's List such a special and profoundly moving experience. [15 Dec 1993, p.E2]

You know how some kids just connect? Jake and Tony connect. And the adults in their lives, without really meaning to do so, make it difficult for that connection to hold. It is a measure of Sachs' talent and skills that such a seemingly small story can resonate in such big ways.

Isn't like the classic Japanese drama "Rashomon," which suggested that one person's perspective of an event gave him a different truth from the person standing elsewhere.

A delightful, sharp dramedy that skewers the topic from every angle imaginable.

While its careful pace and seemingly opaque story may not satisfy every moviegoer's appetite, the film's final scene is soaringly, transparently moving.

Easily the best computer-animated feature to come from Hollywood in a long while, Monster House is also one of the weirdest. A creepy-crawly, freak-show Halloween yarn.

Apart from its intriguing religious implications, the film is also a compelling look at the family, community and congregational pillars that support Lior.