A complicated family story that takes place in three distinct time periods, and that's handled with astonishing ease and fluidity by director Claude Miller.

This one enters the pantheon of great American war films.

Now that she's past 50, can we all stop holding Michelle Pfeiffer's looks against her and just admit that she's a great actress?

Aftersun is a film about memory and regret, of finding small islands of warmth and happiness and holding on; a movie that beautifully struggles to say what is unsaid.

Twenty-five years after its release, "Diva" is still an excellent model on how a crime thriller should be done.

In his big-screen directing debut, British film maker Danny Boyle demonstrates wit, intelligence and economy of style.

An ambitious and exciting piece of work, a movie about sex and movies made by a filmmaker who understands the power of each to set off fantasy, create addiction, incite danger and transform the spirit.

Crisply funny and fleetly paced, it's in its quiet way one of the saddest things in the theaters all year.

This is a serious film, but it is also entertaining. Ngassa and Ntuba should be galvanizing figures for a nation stuck on "Judge Judy" and "Jerry Springer."

There's an edge to this exemplary family movie, just as there is in the story.

Director Nicholas Hytner doesn't soften or cosmeticize Miller's tale -- it's often uncomfortable to watch -- and he draws an emotional pitch from his actors that helps us understand the mob fury and irrational fear that make a situation like the one in Salem possible.

Dares to present a flat-out heroic president, without the safety net of irony. It succeeds.

In 90 brisk minutes, we get a three-dimensional portrait of a private, gender-nonconforming trailblazer who not only paved the way for Black Americans, but also for women and LGBTQ people.

Besides the huge smiles on your faces, Spider-Man: Into the Spider-Verse offers mainstream moviegoers an overwhelming feeling of optimism. If this kind of risk-taking and artist-driven creativity can exist in Hollywood’s biggest money-making genre, then our superhero movie future is filled with hope.

Morricone’s presence in the documentary is the key element, because by watching him, we understand the sensitive qualities that made him so good at interpreting and augmenting the work of others.

By the end, we’ve experienced one of the best films about street hustling ever made.

At its slowest, the film has value as a historical document. At its best, the film gives a human face to stories of unimaginable suffering and unexpected triumph.

Magical and haunting, The Piano has the power and delicate mystery of a gothic fairy tale. [19 Nov 1993]

Enchanting documentary that also serves as an animated gallery of Goldsworthy’s uniquely ephemeral art.

Exhilarating and enchanting family picture. It's the best I've seen this year and highly recommended for girls and for boys, too.

With House Party, the Hudlins have made a happy, harmless romp of a movie that, in its own minor way, manages to make a contribution to black cinema. There is a measure of social equality in the mere fact that black teens get stupid movies made about them, too. [9 Mar 1990, p.E6]

It’s coolheaded and incisive, a thorough and informative study of corporations, their origins and their place in the modern world.

Anyone who enjoys stylized hyper-violence should be enthralled by this long, sweeping, murderously vivid dramatization of ancient Chinese warfare, circa A.D. 208.

Often is on the verge of spilling over into melodrama, but that doesn't bother me because life is the same way.

Deneuve has fun with her best role in years.

Philippe Blasband's screenplay is witty and economical, and the film's editing is crisp.

A wonderfully twisted comedy.

A compact British drama that does more with only three people and a few modest settings than most movies do with computerized bloat and a cast of hundreds.