Truly a winter's tale.

Lower your expectations going into Volver and accept it for what it is: a ridiculously entertaining melodrama with loud echoes of "Mildred Pierce" that provides Penelope Cruz with a vehicle for her multifaceted talents.

Most of Widows isn’t felt. It’s a cold exercise, and occasionally a ridiculous one, as when McQueen tries to get fancy, with camera angles that make no sense.

Boys State is the most depressing film about boys since “Lord of the Flies.” If anything, it’s even more bleak, because it’s not fiction and it’s not allegory. No, this is a documentary about actual boys.

Homicide is a haunting picture that nags at you, days later. It provides no neat answers to the questions it raises about the merits of assimilation vs. maintaining one's ethnic, racial or religious identity, but rather captures something of the times. It might not be the most satisfying movie out there, yet there's a sense about it that, years from now, Homicide will seem even better than it does today.[18 Oct 1991, p.D1]

Part travelogue, part narrative and part art-history class. The class is what's best about this pretty decent movie.

It's an exuberant, well- crafted film that gets the audience involved on a gut level even before the opening credits are over.

The movie itself is a worthy thing, too, but it's not as good as Clooney is here, which is to say, it's not great.

First Man is one small step for Chazelle that shows he is much more than a music man.

A minimalist drama that takes its mood from Turkey's wintry terrain and the uneasy relationship between two bullheaded cousins.

It's a film that, in its own peculiar way, forces viewers to question their values and ask themselves how much they're willing to sacrifice for a functioning society, and how much is too much.

The key to enjoying the film is warming up to the heroine, Poppy.

As innocent as a Disney movie -- and a lot more entertaining.

A return to rowdy form for Chappelle.

The issues of aging and familial relationships and the appealing nature of this family would make “Our Time Machine” worthy of a look in any case, but what puts it over the top is Maleonn’s fascinating visual inventions.

Graceful compositions and slow, easy pacing.

A smart and literate effort with a few weaknesses.

Interviews with Pinochet's victims put a human face on the systematic torture that existed under his rule.

It’s a school shooting movie for this particular moment and plays like a dispatch from the front lines. It’s past trying to figure out what these tragedies mean. It just wants to explore how a person might assimilate such a trauma and go forward in life.

Although the mix of buffoonery and earnestness often doesn't work, it's priceless to see director Otto Preminger (who was Jewish) play a peevish Nazi commander who has his boots put on simply for a phone call to Berlin. [19 Mar 2006, p.32]

In this last passage Longley shows a poetic, almost elegiacal artistry. After two years, he might not understand the Iraqi people fully, but they have won his heart and mind.

Chilling, superbly acted.

The energy of the play's best scenes is dissipated in the film version, but they still work. [02 Oct 1992, p.C1]

You don’t see many sci-fi action extravaganzas that are about late middle-aged disappointment, about wondering what it’s all about and whether any of it was worth it. It’s this element that gives The Last Jedi an extra something, a fascinating melancholy undercurrent.

The caper-movie touches and cocky self-awareness may wear thin, but you can't discount the importance, or the horror, of that footage.

Bujalski's writing is so good, and every shot and edit seems exactly right. Hopefully, there will always be a place for a film like this on a theater screen, no matter the whims of the marketplace.

This is human drama at its most intense and universal. This is the rare film that can change the way you think and see the world.

A gentle, sprightly satire that pokes fun at these trendy communards but emphasizes their humanity and fallibility.