Filmmaker Michael Almereyda gives the most persuasive possible account of the upswing in Eggleston's critical standing.

Three years ago Tsang made “Soul Mate,” an enchanting tale about female friendship that offered an engrossing look at modern, urban China. Yet, that film isn’t quite adequate preparation for the emotional wallop of Better Days. Don’t think, just close your eyes, and jump in.

Maria By Callas finds lots of press footage that most of us have never seen, filmed interviews either for television or newsreels, and it’s all fascinating.

You can view the film narrowly as commentary on the soul-crushing fury of being HIV positive, or take a few steps back and see Araki's film in a more universal sense as the disintegration of human values caused by an obsessive culturewide drive for self-satisfaction and indifference to others. The Living End is much more than a time capsule, thanks to Araki's daring as a filmmaker.

All the requisite talking heads pop up - Dylan, Springsteen, Baez - but it is Seeger himself who towers over the landscape. The filmmakers treat this aged curmudgeon almost too reverently, but it is hard not to be awed by this gentle, resolute soul because of the ideas he steadfastly and faithfully represented.

A great movie.

A masterpiece.

Using documentary-style Super 16 film and staged cutaway interviews with friends and family, James and his photographer and co-producer, Peter Gilbert, fashioned a movie with an affecting, candid look.

It's a beautiful machine, thought out and revved up to the last detail, with no other purpose but to delight - and it delights. [24 May 1989, Daily Notebook, p.E1]

It's the kind of movie you may approach with a show-me attitude, only to be won over to its hip sense of fun and a gentle humanity that lets you walk away with a glow. [1 Oct 1993, p.C1]

This is one helluva drama, with one helluva star turn by Jennifer Lawrence as Ree.

The first great Hitler movie.

A mesmerizing documentary.

The movie is funny, definitely funny. But underlying the humor is a vision so bleak, so despairing and so utterly hopeless as to make "No Country for Old Men" almost look cheerful.

Boorman enlivens The General with a number of scenes, like that one, that play against the con ventions of crime movies. He and Gleeson, both of whom were denied the Oscar nominations they deserve for this film, do exemplary work and give us one of the liveliest, smartest and most surprising films in a long time.

The picture, written and directed by Francis Veber, the screenwriter of "La Cage Aux Folles,'' is a complete success.

A wonderful parody of the birth of talkies that has great wit, an intelligent script, terrific music and dancing that can't be beat.

It's screamingly, hysterically, laugh-through-the-next-joke, laugh-for-the-next-week funny. It's so inventive…This is a film by an original and significant comic intelligence.

By the way, if you’re wondering about the subliminal appeal of the dragons — why these animated creatures look adorable on screen and not menacing at all — here’s why: Their movements, behaviors and expressions are based on cats. Once you know, it’s the most obvious thing in the world.

The beauty of Morris' achievement is the way he fuses Hawking's work in theoretical physics with his subject's life history -- finding subtle connections between the two, and avoiding the pat, predictable structure of biographical film. [28 Aug 1992, p.C3]

Excited with the possibilities of the relatively young film medium, Russia's Dziga Vertov took to the streets of Moscow, Odessa and Kiev to give us a portrait of an ever-changing world that is more essay than documentary. It's a 1929 silent film that added its punctuation in the lab - jump cuts, dissolves, split screens, etc. - to create an indelible work in cinema history. [13 Apr 2017, p.E8]

Detroit is a movie that will make you angry. It is designed to make you angry, and it does nothing to soften the blow or create some artificial uplift. But there is something about honesty that’s exhilarating. Detroit is tough, but it’s worth it, every minute of it.

One of Miyazaki's most kid-accessible movies, but still an unnerving film.

The Devil's Advocate is a sharp, suspenseful and completely satisfying movie.

Uncertainty is a genre trope this director is particularly gifted at manipulating. So many horror films are incoherent due to a lack of good writing; if anything in McCarthy’s script isn’t fully clear, it’s in the same manner that life itself fails to make sense.

A mystical masterpiece about a lonely man who helps a widower perform last rites for his wife, is an astonishing, haunting, sensual, lyrical, bleak and ultimately beautiful road-trip movie.

The picture gently caricatures the folk music scene with dozens of delicate brush strokes, creating a picture that's increasingly, gloriously funny -- as in entire lines of dialogue are lost because the audience's laughing so hard.

Almost frighteningly alive.