A fascinating documentary that seems to unfold over real time.

An unforgettable, poetic romance from Italy whose disarming humor, blushing encounters and bittersweet flavors are certain to set off a groundswell of smiles, tears and regret.

In every way, Miss Potter is a very beautiful thing.

With Boogie Nights, we know we're not just watching episodes from disparate lives but a panorama of recent social history, rendered in bold, exuberant colors.

Haynes elicits two great performances and provides the perfect frame for them, not just in terms of setting, but through smart casting and attention to the smallest of performances.

No, T2 is not a great film, but its pleasures are great — and so rare and accomplished that they raise T2 to a level approximating greatness. There is something to be said for a movie this enjoyable. T2 is great enough.

The River Wild may be the season's most exhilarating family entertainment. [30 Sep 1994, p.C1]

An unnerving thriller that never goes quite where you’d expect, this feature writing/directing debut from Zach Cregger (“The Whitest Kids U’Know”) also does monstrously amazing things with lighting, sets and special effects makeup.

Director Duncan Jones achieves a strange and winning amalgam, a gripping action film that also works as poetry.

What Mackenzie has crafted here is a crowd-pleaser with undeniable art-house elements.

The Substance gets more wonderfully appalling as it goes along, but it’s impressive from its first moments, and it never lets up.

The Secret Garden unfolds like a richly illustrated storybook. It's an enchanting film, full of visual surprises and a story so simple and wise that it makes most ''children's'' entertainment seem gaudy and facile and overly explicit. [13 Aug 1993, p.C1]

Emotionally sophisticated, humane and worth talking about for hours.

As finely crafted as a great work of literature.

It is the best and most enjoyable American film to be released this year.

It is quite simply one of the great “making of” documentaries of all-time — a short list that includes the George Hickenlooper-Eleanor Coppola documentary “Hearts of Darkness.”

A must-see for anyone still coming to terms with the chaos in Iraq.

The Blue Caftan, like its title garment, has a handmade, lived-in quality, an authenticity that marks Touzani — a former journalist making her second feature — a director to watch.

One of the most haunting and vital movies of the year.

Sanders likes to mention Monet’s colorful influence, but the realistic, primeval wilderness of “The Wild Robot” is what stirs the soul.

It packs a lot in its 81 minutes, and does it well.

This is a profound saga that makes for a great American movie.

The best thing about Scare Me is that, for all of its entertaining qualities and acute cuts at white male fragility, this is one excellent guide to writing and filming good horror.

Longlegs is a conjuring of dark, poetic cinema where the devil is definitely in the details.

It turns out that Pepe Le Moko is even better than "Algiers."

in addition to the quality of its dialogue, Levinson’s script is a testament to the value of talking and listening, past the point of discomfort, past the point it hurts.

With outstanding performances by Gene Hackman and Mary Elizabeth Mastrantonio as the embattled father and daughter, the film is a remarkably mature treatment of conflict in a family whose members are fully involved in the problems of our times. [15 Mar 1991]

The result is a film of sadness and power, the first great 21st century movie about a 21st century subject.