Powerful and outrageous.

Funny and sweet enough to delight kids and inventive enough to satisfy adults.

The movie deals with themes of secular and religious love, of how they may intersect and diverge, that are suggestive of Bergman or Carl Theodor Dreyer.

Follows the country pop singer on what has to be one of the most amazing farewell concert tours in music history.

The Sessions is moving. At times, it's even erotic, which is unexpected, to say the least. It sends viewers out of the theater with a heightened sense of the physical and a real feeling for all the things that sex means in human life.

An astonishing documentary.

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

Benefits enormously from Aiello's down-to-earth magnificence.

It's the kind of unpretentious movie that falls between the cracks, and for a certain kind of audience, the thoughtful kind, it would be a shame to miss.

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.

In the 2002 South Korean film Oasis, one can appreciate one of Asia's best directors (Lee Chang-dong) and one of the region's best actresses (Moon So-ri).

Thinking people also like a little drama with their science fiction. On that score, Annihilation comes up short.

This is the defining feminist film of the decade and one of the most important women's vehicles in popular American cinema. [15 Jan 2006, p.28]

Brutal, tough to watch but impossible to ignore.

The film benefits most of all from Rees' careful screenplay, which dances that shifting line between fear and emergent hope. One of Alike's poems says it best: "Even breaking is opening. And I am broken. I am open."

Red Rock West' is filled with delightful twists of plot, and the twists start coming early -- so we'll leave off talking about the story. [28 Jan 1994, p.C3]

Quite simply, one of the best movies of the year so far.

In watching Ava, a visually inviting and sharp portrait of teenage life in Iran, one must admire how writer-director Sadaf Foroughi was able to play her own tune in life.

An extraordinary and effective film.

Babygirl likely will divide viewers, but no matter what side one takes — and despite a bit of a shaky denouement — it is more than just a provocative talker.

You can take it straight as an example of a bygone day of outsize filmmaking or enjoy it as kitsch, but it's exhilarating either way.

Midnight Traveler gets the bulk of its humanity from little Zahra and Nargis. The resilience of children is often amazing, and near the end of the film, when they play in the snow for the first time, you get a glimpse of hope for their futures.

Ultimately, Whose Streets? is timely not only because of its social message, but also because it fully embraces the cell phone footage and tweets that have been crucial tools in the Black Lives Matter and other movements.

It is ensemble work of the highest quality, but it is Depardieu's graceful and illuminating performance that is unforgettable. [19 Dec 1990, p.E1]

It's one of the best documentaries ever made about show business, about what it really consists of and what it demands.

Can and should be appreciated as a work of delicate and unmistakable beauty.

Chunhyang is an extravagantly beautiful movie that many viewers are going to love and others are not going to be able to sit still for. That's their problem.

Terrific.