Aside from Patricia Clarkson, who is practically this movie's reason for being, the great virtue of Last Weekend is that it's exactly as it presents itself.

Cherry is like three different movies in one: the teen years, the war experience, and then life as a drug addict. It’s held together by the smart writing, by the overarching tone of tragic absurdity, and by Holland, who hits every bump on Cherry’s way down.

It's impossible to listen to Francesca's parents, deadly serious about art as a higher calling, without feeling both saddened and disturbed.

One of the most direct and personal music documentaries ever made.

Reveals one mystery, only to reveal another that it can't quite penetrate.

It's silly, witty and good-natured, not scary so much as icky, and not horrifying or horrible but consistently amusing.

If whimsy isn't your mug of tea, stay away from Two Men Went to War. You have to be in the mood for a little sweetness to enjoy this resolutely old- fashioned comedy.

Mr. Soul! is like a wrinkle in time, a time capsule that needed to be opened. In uncovering rare gold, it’s a film that reminds us just how much we don’t know.

If his two previous films suggested a director dipping a few toes in dark waters, Un Prophete marks the moment when Audiard took the plunge.

That none of this seems snarky, but sweetly human, is largely thanks to Rogen, who never makes Herschel ridiculous, but aspirational, as if he has a vision he’s working toward.

Fans of Nijinsky will savor every minute of Cox's work. Those unfamiliar with Nijinsky but who are curious enough to see this film may find themselves frustrated by its nontraditional documentary style.

Sharper works like a machine, and so it seems unfair to complain that, by the end, it feels too mechanical. It’s fun. It should have been more fun, but take the fun where you can get it.

The Dying Gaul has the best kind of story in that it unfolds as a series of surprises, and yet every step, twist and turn seems inevitable in retrospect.

[Raimi]'s drawn lovely, complex performances from Paxton and Thornton and proven that he can work effectively -- and movingly -- in a minor emotional key.

Joyously unhinged and outrageously inventive.

Jarmusch's presence as a director is always felt, from moment to moment, in ways that are small but never random. Even establishing shots -- exteriors of buildings -- suggest his sardonic, quietly despairing vision. With Mystery Train, Jarmusch comes of age. [21 Dec 1989, p.E1]

Keenly observed and refreshingly natural.

Catches magic on the screen -- a behind-the-curtain peek at some of the world's best-loved music, straight from the cats who made it happen.

Yet it's very funny, a disappointment only to those who expect to see something bold and new.

It’s a lovely children’s movie, which isn’t to say that every moment of it is splendid and enchanted, because that’s not the case. The experience of watching Dumbo is more like, “This is OK, this is all very pleasant” — and then suddenly, there are tears in your eyes, and not from allergy season.

What we get with Geronimo, is very good action long on Western flavor and not especially compelling in the historical sense. [01 Apr 1994, p.C16]

Marketed as a romantic comedy, “Materialists” is a sharper, more thoughtful film than its genre would suggest. This is a story about perceived value and what its pursuit costs its characters — emotionally, physically and materially.

Directed by the Oscar-winning Domee Shi (“Turning Red”), Alameda native Madeline Sharafian and Adrian Molina (“Coco”), the visually appealing “Elio” moves confidently and delicately handles themes of isolation, grief, family strife and friendship.

Best of all, the filmmakers know when to pull the plug. Date Night clocks in at 88 minutes and would not have been as funny at 89.

Whereas “Weeks,” made without Boyle’s and Garland’s involvement, felt like a rehash with poorly motivated actions, “Years” is carefully thought out and would be vibrant filmmaking even without the previous material.

A wistful romance with metaphysical overtones, the movie is warm and charming. [10 Jul 1992, p.D1]

A goofy genre-buster that takes its amateur criminals as seriously as ``Pulp Fiction'' or ``Run Lola Run'' did theirs.

Deceptively unadorned. In its simplicity, it digs for complex feelings and ideas — and is particularly timely, considering current political winds and Paris’ announcement of its first refugee camp.