[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.

Almodóvar presents this material in a way that never splits our attention, even as he’s giving us a deluge of sensory and emotional detail. It’s as if he’s internalized the story so completely that he can’t make a gesture — can’t move the camera, can’t shape a moment — without saying something true.

Delightful.

It's a hilarious comedy made even more successful because so much of the satire seems fresh.

This doesn’t have the budget or the marketing push of “Pet Sematary,” the other horror film out this week, but The Wind has a boldness and imagination that transcends such limitations. This is indie horror at its best.

This is what Hopkins has been showing us for decade after decade: the deepest, rawest and most tortured feelings of private, dignified men. His is nothing less than a glorious cinematic legacy, and the miracle is that he keeps building on it.

Structured like a 17th century comedy of manners, the picture is a social critique of the idle rich that's part comic and part tragic, that's light and airy and yet haunted with meaning. [08 Feb 2004]

It's the kind of small but amazing character study (think ``Marty'') that film lovers yearn for while griping that this type of picture no longer gets made. Turns out it does.

Deliriously charming.

Jarmusch has created a small miracle of a film, one that is both intellectually dazzling and emotionally provocative.

Herzog, as ever, is obsessed most of all with human nature: Into the Abyss explores our deepest urges to love, and live, and kill.

Lindon is a strong, sensitive actor, heir to the stoic French working-class tradition of Jean Gabin and Lino Ventura. And not enough can be said for Kiberlain, an actress willing to be seen in all her ranges.

All Black, all the time, and could easily have been an exhausting mess. But the movie is coherent, hilarious and surprisingly sweet.

This is a science fiction film, but like all excellent movies in the genre, the focus never strays from the human heart.

Using long takes, tracking shots, segments where the screen goes pitch-black, and rapid-fire, overlapping dialogue, Patterson has created a film that forces an audience to pay attention for fear of missing something.

Patrick Stewart needs to work on his interpretation of Darth Vader in “Hamlet: Return of the Siths,” but it’s those little comic diversions interspersed throughout Hunting Elephants that make this Israeli movie a little gem.

Director Bernard Rose has created a committed, intelligent and fascinating piece of work with no irony about it.

Late in the extraordinary new Netflix documentary American Factory, Cao DeWang, the Chinese CEO of the Fuyao Group, wonders aloud, “I don’t know if I’m a contributor or a sinner.”

In the face of this relentless nihilism, it’s quite an achievement that the new documentary Wasted! The Story of Food Waste is so darned entertaining and hopeful, as well as informative.

When it's over, this documentary lingers as a testament to extraordinary human bravery. It stands as one of the most heartbreaking and suspenseful sagas of the year.

No, you don’t have to be a fan of fake wrestling to appreciate “Iron Claw.” A love for classic Greek tragedy wouldn’t be misplaced, though.

Christian McKay who, as Orson Welles in Me and Orson Welles"gives what I believe is the most exact and uncanny screen portrayal of an historical figure, ever.

Spartacus isn't the greatest epic ever made, but it's head and shoulders above most of the sword-and-sandal wheezers that came out in the '50s and '60s. And, given the prohibitive costs of shooting an epic today, it's the kind of movie we're not likely to see anymore -- except in well-deserved revivals like this one. [13 May 1991, p.E1]

A triumph for all involved.

A tense, nail-biting thriller featuring powerhouse performances.

A life-affirming rebuttal to apathy, despair and surrender. It’s also one of the year’s most important films.

This may be Favreau’s best achievement — taking a beloved film guided by Walt Disney himself and crafting something distinct and memorable.

The movie is a stunner, so hypnotic that the length hardly matters.