Other than raising awareness for endangered wildlife, Mountain Patrol: Kekexili doesn't have anything profound to say, but it has a lot to show.

Succeeds in making the case that the hatred that seemed dead and buried 60 years ago is alive and growing and beginning to present itself once again as a threat to humane civilization.

Naturally, laws protecting LGBTQ+ rights are quite different in the United States, especially in California and the Bay Area. Nonetheless, “All Shall Be Well,” in addition to being a skillful, absorbing story, serves as a gentle reminder. After dabbing your tears as the credits roll, your next move should be to send an email to the family lawyer.

The Man Without a Face saves itself from sugary sweetness by presenting the friendship of McLeod and Chuck against a harsh small-town background. The screenplay takes off in some strong directions, while Gibson, in his first film as a director, keeps it honest all the way. [25 Aug 1993, p.E1]

Not about the justice or injustice of the legal system. Rather it's about the tragedy of Sam's predicament.

As the man who made the monster and now has to live with it, Pacino's a blast.

Sly, sexy Las Vegas fable.

It’s still a relief that the love story here is between a kind woman and a creature far nobler than his onetime owner.

A little picture -- the names of the entire cast would fit on half a sheet of paper -- but it’s more heartfelt than movies with 50 times the budget.

Where Caine was like an arsonist in his relationships, Law's Alfie is more like a kid playing with matches -- innocent and genuinely surprised when things start blowing up around him. Law makes Alfie's befuddlement a surprisingly poignant thing to witness.

For those willing to overlook its few slips into heavy-handedness, Corpo Celeste tells a compelling story of a 12-year-old girl thrust into a strange new world.

This is the kind of made-for-cable-level movie where a pedestrian script (by Richard D’Ovidio) with the usual horror cliches is elevated by strong acting, no-nonsense direction and a couple of neat twists.

Later, as the picture becomes a Petrie dish in which James' theories are put to the ultimate test, Certified Copy loses some of its magic, but it retains interest as an appealing and one-of-a-kind experience.

East Side Sushi is an engaging film that fits neatly into that category of foodie films and dreams.

Showing the intricate dynamics of family relationships is something Mira Nair does as well as any director working today.

It’s a film sure to delight fans and make new ones of one of the movies’ most special personalities.

A playful, sexy piece of work -- just what the Bard might have conjured up for a movie adaptation of his beloved spring-fever comedy.

A fly-on-the-wall look at the inner workings of the famed Spanish palace of avant-garde gastronomy that closed its doors in July. If you're passionate (and open-minded) about food, you'll be fascinated.

Ridley Scott gives it the grand treatment, 157 minutes worth, but in the end, it doesn't stack up as the portrait of an era (the 1970s, in this case) or an important tale of a criminal mastermind.

It's more interesting than it sounds. Besides the sheer spectacle, which is notable.

Foxtrot troubles and fascinates as it shifts from a portrait of grief to one of pathology, and captivates after it shifts again, into a visually driven, borderline absurd look at military life.

Much of The Tracker, a blunt morality tale about Australian racism, is heavy going.

This is a filmmaker who cares less about horror cinema as a theme park ride, and more about mood.

Neither true believers nor newcomers to the phenomenon will be disappointed.

This may not be Martin Scorsese's most sophisticated film, but it actually takes a smart filmmaker to understand that, with a subject like Fran Lebowitz, the best thing you can do is let her talk.

There are painful moments in “Marlee Matlin: Not Alone Anymore,” and there are triumphs. But mostly, it is a film of grace and acceptance — a necessary portrait of a groundbreaking artist.

High-gloss trash but compulsively watchable.

Plays like a holy, erotic mood piece, steeped in so much subdued jungle fever that it practically runs on photosynthesis.