In many ways, City of Men is like a Portuguese-language version of David Simon's "The Wire."

A romantic comedy for anyone in love with the movies, and anyone, for that matter, who's in love.

A quiet, glistening love story - or not-quite-love story - adapted from Martin's novella of the same name, Shopgirl is such an atypical Hollywood affair that it's almost startling.

Triumphs by taking an elliptical approach that still reaches directly into the very core of genius.

Kinetic and kooky, with a climactic shoot-out at a rail station that's daring in its ridiculousness.

A rocking, rollicking crowd-pleaser.

Whatever its flaws, however, this gorgeously colored and darkly hued Hunchback remains a towering and bold addition to the Disney canon. [21 June 1996, p.03]

Control doesn't claim to know the reasons Curtis killed himself. The act of suicide poses the question why, but rarely answers it, leaving the living to wonder, and to grieve. And there's certainly grief to be had in Control, but also joy. Really.

A human-scale comedy that reaches across generations to tickle, connect and embrace.

While Gyllenhaal has playful puppy eyes and energy, his performance as Jack is a blur of mustaches, sideburns and spurs that never achieves the weight of Ledger's.

The pleasure of The Limey lies in watching what actors who have aged like fine wine can do in that world.

Offers a crushing view of humanity at its most desperate, and a view of one man's fevered efforts to find grace and dignity amid the horror.

There are frightening moments, as when he attacks an elderly woman he thinks is possessed by devils. And revelatory, heartbreaking ones, which can make you think that maybe he is a genius, after all.

Sensual, dreamlike, both intimate and epic, The House of Sand is a cinematic tour de force.

Richly informative and fascinating.

You watch a Miyazaki film with the pie-eyed, gape-mouthed awe of a child being read the most fantastic story and suddenly transported to places previously beyond the limits of imagination. It's quite a trip.

Wiener-Dog has a satirical edge as sharp as any Solondz has fashioned, but it is also filled with disarming moments of absurdist humor.

What really matters is that the film works. It's a genuinely suspenseful, no-holds-barred masterpiece of sex 'n' horror exploitation.

Shrek 2 is a dream, a sequel as exhilarating and riotously funny as 2001's top-grossing original.

A delightful, oddball surprise.

The movie is near-perfect, suspenseful, heart-breaking, profound.

The talented Hansen-Love, with clarity and economy, manages to avoid the maudlin.

Baron Cohen brings scary conviction to the performance.

So incrementally does Eastwood's film build toward what seems like an inevitable resolution that when it concludes, you're sucker-punched. You haven't been watching a police procedural, but a Greek tragedy. You haven't been watching a drama about the catharsis of vigilantism, but sitting vigil for a community diminished, and permanently damaged, by violence.

A boisterous and improbably entertaining action comedy.

It's been a long time since a film has conveyed a culture, and a sense of place, with such telling precision. At the same time, Winter's Bone thrums with suspense.

Weirdly funny, inspiring film.

An honest and personal and unblurred examination (even through that druggy blur) of a tricky voyage into womanhood.