A must-see for Pearl Jam fans - and for folks keen on gleaning insights into the pressures that come with megastardom.

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

What's less clear, and more maddening, is how several generations of Ecuadorans have been left to live on toxic land, their health and livelihoods compromised, while lawyers file motions and counter-motions and blame is passed around.

The action is exhilarating, the visual effects spectacular - and spectacularly realized.

Forget its dubious ancestry as a popular TV show of the '50s. The combined charms of Maverick's genial cast, its sly script and its punchy direction make it the legitimate heir to escapist crowd-pleasers such as Butch Cassidy and the Sundance Kid and The Sting. [20 May 1994, p.03]

It works beautifully and illuminates aspects of Freud that you might think beyond the reach of the the camera.

Assembles varied and remarkable digital video, archival footage, photographs, interviews and personal reflections and academics' perspectives to convey the scope and history of the Tibetan story.

Acting-wise, the showstopper is Jason Bateman, with a diabolically entertaining turn as a smarmy PR man remarkably free with confidential information.

This is a movie about friendship, about foolhardy endeavors that get your adrenaline going and make you feel life buzzing in your toes. Written with wit and concision and remarkable confidence, Bottle Rocket is a joyride worth taking.

At turns elegiac, absurdist, and gently satirical, Lonergan’s drama is a deeply affecting chamber piece that features an outstanding performance by Casey Affleck.

Avatar delivers. Combining beyond-state-of-the-art moviemaking with a tried-and-true storyline and a gamer-geek sensibility - not to mention a love angle, an otherworldly bestiary, and an arsenal of 22d-century weaponry - the movie quite simply rocks.

Portrayed by a mesmerizing Elle Fanning (Maleficent, Trumbo) in a magnificent, heart-stopping star turn.

An English-language remake is in the works, but why wait for the Hollywood knockoff? Easy Money is the real thing: a great gangster pic.

A Most Wanted Man's cast - a mix of Germans speaking English, Americans speaking English with German accents, Russians, and men and women from the Middle East - is uniformly stellar.

It's “The Wizard of Oz” with a viral infection.

Limitless rocks.

Strictly speaking, Elle is a comedy, a blacker-than-death social satire about bourgeois values, set in contemporary Paris. It’s viciously, demonically funny in parts.

The Queen of Versailles combines the voyeuristic thrills of reality TV with the soul-revealing artistry of great portraiture and the head-shaking revelations of solid investigative reporting.

A story of obsession and honor, deception and self-deception set against a sharply etched landscape of political upheaval and intrigue. Malkovich orchestrates all this with assuredness, and Bardem, looking weary and worn, inhabits his character with a realness, a truth, that's downright spooky. And beautiful.

Easily the best stop-motion animated necrophiliac musical romantic comedy of all time. It is also just simply, wonderful: a morbid, merry tale of true love that dazzles the eyes and delights the soul.

Moana 's great heart and great humor actively subvert the violent, egocentric, macho mind-set that dominates so many popular stories. It can hardly be expected to change prevailing attitudes on its own. But it’s a start.

Argo's white-knuckle nail-biter of a climax takes liberties with how events played out in real life. But while Affleck and screenwriter Chris Terrio have opted to go Hollywood, it's high-class Hollywood, not the low-rent and exploitative route that the make-believe movie at the heart of this tale would have taken.

Although Angelopoulos' film is not for all viewers, it rewards the patient moviegoer with an incomparable emotional journey. [09 Jul 1999, p.04]

A superbly researched and edited documentary about the women's movement in the 1960s.

Madly entertaining and just plain mad.

To the extent that movies bear the residue of their filmmakers' autobiographies, I found The Pianist particularly compelling.

Beloved spans 45 years, shifting from Paris to Prague to London to Montreal, and it boasts an especially strong performance by Paul Schneider.

The Road Home takes a path few movies choose to travel these days, but it's a very affecting journey.