In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.

Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.

Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.

Runaway Train belongs to a rare genre: the intelligent thriller.

Represents a brave and effective fusion of serious and fantasy elements, and offers two and one-half hours of solid entertainment. Admittedly, there are times when West Side Story strikes a campy or discordant note, but those instances are overbalanced by the more frequent moments when it offers its own brand of cinematic magic.

Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.

The strength of the acting and the modulation of the screenplay transforms what could have been a run-of-the-mill Lifetime disease-of-the-week movie into something more insightful and intelligent.

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

Although prone to occasional sermonizing, The Post offers a stirring reminder of the importance of these kinds of unsung heroes in protecting the American way of life.

The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).

This is the director’s least violent feature film but it is in every meaningful way evident as a product of the man who made "Pulp Fiction."

The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.

The movie, written for the screen and directed by Scott Cooper (who helmed Jeff Bridges’ Oscar-winning performance in "Crazy Heart"), is careful not to demonize anyone and make the path to redemption both slow and methodical.

The strength of Anatomy of a Fall comes from its willingness to embrace ambiguity and a lack of closure in ways that intrigue (rather than frustrate) the viewer.

Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.

Especially during the first 90 minutes, Carol is an immersive experience that invites the viewer to slow down and amble along at its leisurely pace.

It’s quirky, a little unpredictable, and never feels like warmed-over leftovers. There’s a bite to things – an edginess that doesn’t cut too deeply but keeps the sentimentality in check. One of the year’s most pleasant surprises.

Horror isn’t for the faint of heart. It’s not a child’s genre. It isn’t meant to be comfortable. In fact, I’m hard-pressed to think of a recent movie that’s as uncomfortable and disturbing as It Comes at Night.

Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.

One of the best things about True Lies is that it's genuinely funny.

This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."

Hazanavicius isn't just making a "silent movie," he is attempting to enter a time warp and craft something that would fool all but the most studious and scholarly into believing it could have been a lost film from a bygone era. If his tongue is sometimes a little in his cheek, that's all part of the fun.

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.

Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.

Spotlight is a Valentine to investigative journalism and a stark reminder of where we’re headed now that this brand of writing has become an endangered species. The film is unique in that it focuses almost entirely on the process.

Skyfall can take its place alongside "From Russia with Love," "Goldfinger," and "On Her Majesty's Secret Service" as the best Bond can offer.

The film’s contribution is the unique perspective it provides about what it meant to work in a death camp.