As for Plummer, I don't know how he does it, but he somehow radiates gayness. It's nothing overt, just some internal shift, but if you saw only 10 seconds of Plummer in this film, you would know he was playing a gay man. You just might not know how you know it.

The locally sourced documentary is always engaging — lively and well-paced with an impressive list of interviewees from Hillary Clinton to Huerta herself.

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

Martel's vision is so visually rich and complex it borders on the impressionistic, but The Headless Woman would be nowhere without the precise tour de force performance by Onetto.

It is a mess of a film, botched but also misconceived, with a central performance by Natalie Portman that evokes nothing about Jackie Kennedy, beyond the stylish clothes and the secret smoking.

An entirely unconventional, hypnotic, meandering film.

In just a short period of time, a weekend hookup tests the boundaries each man has set for himself.

The aftertaste of that father-son scene is so strong, so disturbing, that the riches of Happiness -- its writing, its performances, its trenchant wit -- all seem a bit diminished in the bargain.

After nearly two hours of A Pigeon Sat on a Branch Reflecting on Existence, anyone who entered the theater on a Wednesday might wish for it to be Thursday, too.

Three Identical Strangers tells a remarkable story. In fact, it tells several. It’s already extraordinary 20 minutes in, and then it goes to unexpected and yet more amazing places, like a narrative feature by a master storyteller.

American Fiction is not a perfect film. The book trails off at the finish, and though the movie comes up with something better, the end still doesn’t feel ideal. But none of that matters as much as it might, because Wright gives the perfect performance.

We see the tormented, limited and potentially dangerous man underneath.

Even as it stands, Fish Tank is a valuable movie, though it aspires to a social insight it doesn't attain and a psychological penetration it won't maintain.

The film leaves us staggering with a strange, almost unbearable embrace of childish innocence and treacherous spite. It is powerfully depressing. [02 Mar 1990, p.E1]

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]

Mixing in citizens’ harrowing cellphone footage and heartbreaking emergency call recordings, Walker’s teams immerse us in the flaming terror as few features have before.

Bernal is quite good as the young media specialist - it's always surprising to see how strong a presence he is in his Spanish-language films and how he all-but disappears in his American films. Is it a matter of the roles or the language? The jury is still out.

At its heart, it’s a darkly comic drama about a man trained to be a killing machine who must rediscover his own humanity before his daughter loses hers. Along the way, a family of quirky characters is formed.

A fascinating look at a bizarre man and a brilliant talent. But a good deal of the movie is described by its subtitle -- "A Son's Journey'' -- and to the extent it is, the movie sags.

Plays like two films in one, and succeeds on both levels.

Director Corneliu Porumboiu ("12:08 East to Bucharest"), with his deadpan style and probing intelligence, is someone to keep an eye on. Using a minimalist style, and possessing the courage to risk alienating his viewers, he has created a movie full of resonance.

With his crisp intelligence always a step away from collapsing into paralyzing self-consciousness, and his polished good-boy veneer often giving way to hysteria and vulgarity, Grant is a delight. [18 March 1994, Daily Notebook, p.C-3]

The most consistently entertaining movie of 2012. It's 165 minutes long and shouldn't be a minute shorter, a film of surprises, both in story and in casting, and of moments of agonizing, teased-out tension. The dialogue is dazzling.

The real acting laurels go to Klein, who is both an adult and a child - by turns smart and not so smart, brave and fearful, caring and full of disdain.

It’s entertaining and provides the tired vampire genre with a welcome infusion of fresh blood.

Last time, Peele made a movie about the country. This time he made a movie about himself, and it’s even better.

It's a wise, sweet-natured film, and one that manages to have fun with its charac ters without judgment or condescension. [04 Aug 1993, p.E1]

Features some disturbing clips.