Although it's told in the light, piquant style of his best comedies, there's a sadness at the root of Federico Fellini's Intervista. [31 Mar 1993, p.D3]

Ultimately, it’s not so much about nature but our own existence. The knowledge that our lives are finite but valuable — and what our responsibilities are for generations to come.

A thrilling, audacious work.

It is not merely a thriller but a shocker. It will separate hard-core Jet Li followers from the fair-weather fans.

Little Shop of Horrors is consistently amusing and churns with non-stop musical momentum, plus a few old-time Disney touches. This time, it's easy being green. [19 Dec 1986, p.79]

This film, directed by William Friedkin and based on Mart Crowley's breakthrough play, is often dismissed (sometimes by people who haven't seen it) as sappy and dated. But on second look, it's one of the important films of the 1970s.

Blanchett is so convincing, and Field’s approach is so authentic, that it feels like an event, not just a movie.

Director Nancy Buirski not only is able to give rare insights into the dance world but a compelling tale of love, friendship and perseverance.

A brilliantly realized, Hollywood-sleek documentary produced by Cameron Crowe, A-list director and onetime boy wonder Rolling Stone reporter who not only conducts the film’s current interviews, but is also shown at age 16 in 1974 doing his first interview with Crosby.

It's a good movie not because it says the right things but because it says those things well. [18 Sept 1992, p.C3]

One of the year's most important documentaries, a real must-see.

Arrival works as mainstream entertainment, but includes hallmarks of the “2001: A Space Odyssey”/“Silent Running” era of artist-driven science fiction. It has Hollywood stars, but makes great effort to strip them of any false glamour. The film is tightly calibrated, but leaves things open to interpretation, for discussion on the ride home and beyond.

This film is the sharpest since "The Prisoner of Azkaban." It is the most emotionally satisfying, blending spot-on comedy and adenoidal sexual tension, with scenes of gutsy vulnerability.

A riveting works of humanism.

This is one of the greatest films of the 1950s, a prophetic film about the dangerous power of modern media.

May be the most magnetic, most beautiful and bravest Carmen ever to grace a stage or film set.

The main source of astonishment is the precision exhibited everywhere, from the slyly vintage look of Rodrigo Prieto's cinematography to the gradual, cinching tension in Chris Terrio's careful screenplay.

Aided by the luscious cinematography of Giuseppe Rotunno (one of Fellini's favorites) and the illustrious production design of Dante Ferretti, Gilliam has clearly won this round to preserve magic and wonder on the screen. [8 Mar 1989, p.E1]

Respect has everything you could hope for in a musical biopic. It has a good story and great songs and, best of all, it has someone in the lead role who can put those songs over.

Beatty has fashioned a hilarious morality tale that delivers a surprisingly potent, angry message beneath the laughs.

One need not be a jazz aficionado to enjoy this film. All that’s required is a smile.

A fine-boned, luminous tribute to Keats and the sufferings of love.

In 1925, Charlie Chaplin released "The Gold Rush," his best film to date and one of the best he would ever make - or anyone would ever make.

Thoroughly entertaining.

The Last Duel, directed by Ridley Scott, gives us the texture of life in 14th century France, so much so that we feel that we are there, in this place that’s desperate and foreign and yet human and familiar.

Naked Gun 33 1/3 is a feast of pointless, shamelessly silly, almost consistently funny gags. Another comic gem. [18 Mar 1994, p.C1]

It’s a beautiful and hopeful film, coming at a time when there isn’t much beauty or hope in our movies, and it’s the type of picture — a sprawling, exuberant musical drama — that hasn’t been seen in decades.

Feels positively Greek in its magnitude, a lament about fate, age, time and life.