This is formidable filmmaking, and Heineman has become one of our most daring, and interesting, documentarians.

Clifford the Big Red Dog brings a warm feeling every time I think of it, and I’m really glad I saw it.

Could use more background and personal detail on Rijker, but Bankowsky's tight, no- frills approach is always compelling.

The designer’s own recollections paint the most vivid pictures throughout the film, as do his sketches and the extraordinary parade of shoes that go by like models pivoting on the runway.

(Holm) nails one of the best roles of his career.

Pleasant, light-hearted fun that's soft, not edgy, but lest you think it's a Spanish "Birdcage," consider that Forque's nymphomaniac, who gives way to her urges "in the worst moments, and with the least appropriate people," seduces her son's fiancee by "accident."

A clever hybrid of documentary and romantic comedy.

Entertaining.

North American viewers will have one advantage over their South American brethren — the capacity to be surprised. We knew how “Lincoln” was going to end, but The Liberator is a question mark all the way to the finish.

May not be a classic, but it still has a lot of class.

We may not get to argue both sides of the debate, but Under Our Skin stirs the deepest emotions and reveals the most unsettling truth: We're all vulnerable to a tick bite, sure, but it's the health care system that really gets us in the end.

A formidable exercise in storytelling. Even at the end, when the inevitable goodbye toast occurs, there is a twist awaiting us.

Collateral is a good idea for a movie, backed up by expert execution... It's straight-up entertainment, not something to see and then talk about a month later, but definitely something to enjoy.

The essential mistake that's made about Lewis is assuming his movies were intended mainly to be funny. I suspect they were intended mainly to be really, really weird.

Anyway, thanks to Lourd, Clooney and Roberts — who radiates an appealing groundedness and sanity, despite having been suffocatingly famous since her early 20s — “Ticket to Paradise” is a lot more enjoyable than it deserves to be.

Sometimes I Think About Dying is a good calling card for Ridley, who proves that she’s not limited to playing spunky adventuresses from a long time ago in a galaxy far, far away. Rather, she has a compressed intensity that could be put to good use in a variety of roles.

The music links it all together, creating the sense of some overarching, unseen logic connecting all human activity and making everything inevitable. Indeed, it’s that last impression that elevates Dawson City: Frozen Time to the level of poetry. The story of the town is interesting, without being scintillating.

The directors pull off this faux documentary.

Although the script takes some unfortunate shortcuts, “Eleanor the Great” is a moving study of grief, loneliness and aging. But each of the main characters has something missing in their lives, a hole to fill inside of them, and Johansson gives her actors the space to explore.

This is a well-made, well-plotted and sensitive movie.

An uplifting documentary.

A movie about the power of the imagination really becomes a movie about a certain element of surrender - about the release of power - that is practically a requirement for loving somebody.

It's hard to imagine any movie ever topping this one's depiction of killer tornadoes laying waste to the Midwest.

It's a strong, lean piece of writing that moves quickly. Nothing is wasted, and nothing happens the way you'd expect.

Modern film noir done with flair and commitment.

Moore’s admirers made this biography an homage, and if you’re not already a fan, you may tire of the valentine.

Though it would be inaccurate to reduce Thelma to an extended metaphor, it’s fair to say that Trier uses the supernatural element to illustrate, in a forceful way, the power of lust, the selfishness of love, and the world-obliterating intensity of a first romance.

Trumbo is breezy and pithy without ever undercutting the seriousness of the subject. A certain degree of wit is appropriate in a writer’s story, just as any Hollywood tale must at least have a whiff of absurdity, or else it can’t be true.