This elegant movie never reduces or diminishes its subjects, and leaves us to ponder a remarkable truth - that Ushio and Noriko have an abiding love that four decades of frustration, resentment and rivalry have battered but not extinguished.

What it brings to the filming of a rock concert other than novelty remains to be seen.

The acting is uniformly strong, which says something about King as a director.

This is one of the wisest, slickest and most unorthodox feminist films one could ever hope to see.

The all-time great talking-pig movie, a lovely, intelligent gem of G-rated entertainment that is also rib-tickling funny.

All [Tarantino] has to do is trim a full hour out of "Vol. 1" and a half hour out of Vol. 2, combine what's left and he'll have something not just amusing and idiosyncratic, but outstanding.

Expansive, but succinct. Leigh tells a small story and doesn't try to make something huge of it.

Spike Lee is relevant again. He's necessary again.

Clocking in at a mere 79 minutes, featuring plenty of laughs and climaxing with a rousing chase, “Wallace & Gromit: Vengeance Most Fowl” is an impressive feat of clay, a winning choice in a competitive animated holiday season.

Under the Skin can be confused for a movie that hides its meanings, when it's really a movie that hides its meaninglessness.

Director Gabe Polsky masterfully documents Fetisov’s triumphs — and sorrows.

The Post is on safe ground when it focuses on Streep as Graham — tentative, slightly affected, but growing by the day — and with Graham’s relationship with her gruff, hotshot editor, Ben Bradlee, played by Tom Hanks, against type but winningly. The movie’s challenge is the journalism story, which is not as clear-cut as Watergate and is therefore harder to dramatize.

The movie feels more like a thriller and a mystery than a documentary. Perhaps someday, someone will be inspired to dramatize this astonishing story.

In Cunningham, the presentation is riveting.

It's a film with impressive elements, though taken as a whole it's pop entertainment that doesn't fully deliver on the entertainment end.

A powerful document of cruelty and sadism.

Toback has found a documentary subject as tragic and ridiculous, as bizarre and driven, as the heroes of his other films.

[Branagh] shows an understanding of the medium worthy of a veteran, and an intuitive grasp of how to make Henry V not only comprehensible, but compelling for contemporary audiences. [13 Dec 1989]

A thoroughly entertaining film by a director at the height of his ability.

Israeli writer-director Joseph Cedar imbues his tale of academic maneuvering, misunderstanding and mystery with the zest of passion and the zing of intrigue, It's a vivacious film, having its little fun with suspense-flick conventions (including Amit Poznansky's bouncing score) that build to a climactic finish.

The result is a beautiful void, a structureless emptiness buoyed by some good scenes and performances.

Engrossing documentary.

The first feature by Rose Glass, Saint Maud delivers shocks with confidence.

[Scorsese's] latest, “Made in England: The Films of Powell and Pressburger,” is a personal guide to the work of a one-of-a-kind directing duo who continues to influence filmmakers today.

The impressive film not only underscores the clash between traditional and modern values, but also provides inspiration for deciding your own fate, even when the world seemingly doesn’t give you a choice.

An unusual and imaginative romantic comedy that takes the central idea of “Groundhog Day” and builds on it.

As for the movie’s ultimate resolution, nothing specific can be said here, except that it borders on inexcusable.

Is That Black Enough for You?!? is the noted film critic and author’s ode to Black contributions to American cinema — reaching back to the silent era but focusing on what he considers the apex of Black Hollywood, a wild and energetic period from 1968-78 that revolutionized the art form.