It is by far the sharpest-looking DreamWorks Animation film to date.

Compelling parable from Canada that's open to a number of interpretations.

It remains as unsettling as ever.

Powerfully documents the human cost of the Iraq war.

The film is a methodical and loving examination of two people constructing a fantasy for themselves. [08 Oct 1993]

There's a way to love City of Ghosts, and that's to watch it not as a story that should add up to something, but as a series of little episodes with their own specialness and integrity.

It's Eric Bana, a popular Australian stand-up comic, who justifies our interest with a dazzling performance of blunt humor, unpredictability and an edge of menace.

It’s marked by a polished balance of humor, searing emotion, all the information about the toy business you’d ever want to know, and cautionary advice concerning investments in something silly like stuffed animals — or, by extension, NFTs.

A master of minimalism, Finland's Aki Kaurismaki makes films that are so dry, so delicately ironic that they seem on the verge of crumbling in front of us -- but they never do.

A surprisingly joyous musical.

Pleasing, it is. Good, solid stuff. But one wonders how much better the film would have been had von Donnersmarck honestly explored the life of his inspiration, artist Gerhard Richter, rather than the fictional “Kurt Barnert.”

Death Wish is easily the second best “Death Wish” movie ever made, and not a distant second.

There isn't a film filled with richer, more colorfully imaginative images currently playing in theaters.

Even if it's too self-conscious, "Going All the Way," set in 1950s Indianapolis, nevertheless has a mix of the sweet and the forlorn that somehow works.

Engaging and perceptive.

Just in the last few months, we've seen "Snowpiercer" and "Divergent," which also deal with what happens after a civil collapse. The Giver, the latest in this weird trend, approaches a now-familiar topic from a new angle, and, of the three, it's the most visually arresting.

Romance and comedy are part and parcel, and both are done with aplomb. But what gives the work its distinction are its intersections. To be Filipino in America is to have an ever-changing relationship with otherness. The otherness of being one ethnicity among many in a national melting pot. The otherness even among other Asian Americans. And the otherness of being American in nationality but of another culture and history at heart.

Out to Sea has an emotional pull that is much stronger because it is so unexpected. You come for the laughs and find yourself wiping away tears.

Deft director Kyle Patrick Alvarez concocts a subtle brew of sexuality, religion and class that goes down easily, even as the world around Samuel sometimes leaves a bitter taste.

On its own terms, the movie succeeds. Like a fable, its meanings are unspecific but haunting.

At first, the technique seems gimmicky, but finally it's as compelling a perspective as any to understand how these men passed through agony to some sort of peace.

A lovely, evocative tour de force. So why does it seem we should be enjoying it more?

FernGully: The Last Rainforest has a creeping sweetness that sneaks up on the viewer. This musical animation gets off to a slow start, and it's just as slow in the middle. But by the end, it acquires an emotional impact, and later you really feel as though you've been somewhere new. [10 Apr 1992, p.C1]

An honest, fair and quite voyeuristic look into avatars and the real-life humans who control them in Second Life.

A mostly fabulous, though thinly plotted, ode to the glories of hand-to-hand combat, Euro ’80s music and the good/bad old days of the Cold War.

For a while, you can feel like a part of the golden circle.

Even if the proceedings sometime feel like a travelogue, the reconstructions of Gabriel’s last days alive, down to the exact locations and personal interactions, leave a strong impression.

Playful and energized enough to keep an audience guessing.