An action blockbuster extravaganza that's sadder than sad and never pretends otherwise.

It’s a good, not great, movie, but it has some of the elements that make Linklater’s work special. Few filmmakers are quite as keyed into the passing of time, as the source of all sweetness and heartache in the human experience.

The Past makes conventional movies feel artificial. Watching the characters interact in this movie feels like "Here is real life," and real life just happens to be strangely compelling.

The cold, efficient and really British spy thriller stars a marvelous Michael Fassbender (“The Killer”), a sly Cate Blanchett (“Tár”) and an underused but most welcome Pierce Brosnan, who all help overcome a ridiculous premise.

Funny, riveting look at the music scene that ruled Manchester, England, from 1976 to 1992.

An unforgettable examination of a host of dark impulses.

At times trying and perplexing, but it also contains some of the most psychologically insightful and ecstatic filmmaking imaginable.

In the hands of visionary filmmaker Alexander Sokurov, this simple material makes for a haunting drama about war, generational relationships and the human condition.

So The Fabelmans is entertaining enough, but perhaps what’s best about it is that Spielberg got it out of his system. After this, he won’t ever need to make a film about himself or his parents again.

The darker this visionary film gets -- and it gets very dark -- the less comic and the more chilling it becomes. At the same time, it grows more brilliant as a view of modern society poisoned by a battering incivility or cruel exploitation that, in Leigh's view, is played out most profoundly in gender conflict. When ''Naked'' isn't beaning your brain, it's twisting a screwdriver between the wires of your nerves. [28 Jan. 1994, p.C1]

A great piece of filmmaking and a legitimate science-fiction/horror classic.

The magic here is all in the telling: in the graceful, laconic direction of Jacques Becker.

A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]

Watching the film one comes away feeling the bond that links these guys.

The Departure is an excellent example of a filmmaker finding a perfect wavelength with her main character.

Heart and tenderness are rare in cartoon movies. But in an age of frenetic children's fare, the new animated adventure The Iron Giant dares to show a lot of both, and it comes up a winner.

Even if the film seems slow at times, there’s always something to look at, including Miroshnichenko and Perelygina, who are able to find grace and dignity in two such odd, hollowed out characters. Maybe, just maybe, these two veterans working in a hospital can heal each other.

As an antidote to the frenetic nature of a lot of children’s TV of the day, Rogers preferred a measured pace on his show, and even made judicious use of silence. These are just two of the numerous gifts given by this extraordinary man to the children lucky enough to have watched “Mister Rogers’ Neighborhood.”

All things considered, The Long Day Closes is a remarkable film -- tender and intelligent, long on mood and short on ''action,'' a cinematic poem that stands head and shoulders above the summer harvest of bonehead action thrillers. [23 July 1993, p.C9]

The movie is modest in its ambition and powerful in its reverberations.

A fine ensemble piece, but a maddening and unjustified length.

It's impossible not to be moved and shocked by The Last Days, the haunting documentary about five Hungarian Jews who survived Hitler's "final solution" to exterminate the Jewish people.

An exquisite and powerful documentary -- one whose elegance only heightens its devastating impact.

A documentary with the emotional power of the very best in narrative film. It has characters impossible to forget, moments impossible to shake and an ending that leaves the audience both moved and rattled.

It's a startling, speedy, gracefully executed indictment.

Moving.

It’s an intricate thriller about a con game, but so loaded with wicked humor and sensual appeal — ravishing cinematography, high-temperature eroticism — that for long stretches viewers might forget there’s any plot at all.

Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.