A gripping film that re-creates the fear, bewilderment and anguish felt by thousands during the anti-Communist witch hunt in Hollywood. Robert De Niro gives one of the finest and most modulated performances of his career as David Merrill, a famous director trapped in the miasma of suspicion that haunted Hollywood in the '50s and '60s. [15 Mar 1991, p.E1]

A wonderful French offering whose jumping-off point is a bullfight.

Hurrah! Poetry and passion, comedy and tragedy are fused into one absolutely marvelous affirmation of independent spirit in Dead Poets Society. [2 June 1989, Daily Notebook, p.E1]

Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.

A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.

Explosive entertainment, with the tension and volatility of its subject matter.

In the hands of visionary filmmaker Alexander Sokurov, this simple material makes for a haunting drama about war, generational relationships and the human condition.

Harrowing and unforgettable film.

Taken a little too seriously, My Cousin Vinny can be seen as a celebration of the breadth and richness of the American landscape. Maybe the movie isn't exactly about that, but to enjoy it is, in a small way, to celebrate that richness. [13 Mar 1992, p.D3]

To watch Close is to be fully immersed in its finely detailed world suggested by Dhont and co-writer Angelo Tijssens; realized by Dhont and cinematographer Frank van den Eeden; and brought to life by the exquisite performances of its top-notch cast, led by Dambrine, De Waele, Dequenne and — as Leo’s mother — Léa Drucker. As its accolades suggest, it is one of the best films of 2022.

The cruelty of his methods aside -- and Polanski wasn't the first director to terrorize an actor for the sake of a performance -- Repulsion is a frightening, fiercely entertaining experience that holds up to time. (Review of May 1998 revival)

It's a stunning, delightful image adventure like nothing done before on the big screen.

The film starts off akin to a tongue-in-cheek “Twilight Zone” episode, then becomes a meditation on fame before transforming into a scathing satire of several things at once: Gen Z, cancel culture, and even the people who complain about cancel culture. Written and directed by Norwegian filmmaker Kristoffer Borgli, it’s bleak and funny and provides Cage with his most satisfying role since 1997’s “Face/Off.”

Ambitious and brilliant.

This is a remarkable movie: lovely, slow-paced and almost silent, rich with pathos and deft comic gestures.

It is not just about the American dream; it is a search for America’s soul.

He (Aronofsky) has put together a phantasmagoria of self-destructive obsession that is so visually astounding it becomes its own saving grace. Otherwise, we might not be able to bear it.

It’s an ode to the satisfactions of facing life head-on with whatever time you have left. And writer-director Maria Sødahl semi-autobiographical drama earns every iota of its hard-won uplift.

Remarkable.

There is a “Good Will Hunting” vibe to the film, a gifted young person sliding toward obscurity who is helped by the intervention of friends and colleagues. And the film may end with all the lose ends tied up into fancy bows, but its heart is pure.

The film is exciting in two big ways: its simplicity of story (Tanovic does not get bogged down trying to give us an epic history) and the breadth of Tanovic's vision.

Shot for shot, Big Eyes is one of the most beautiful-looking movies of 2014, but to say that isn’t enough, because it’s not just pretty, not just pleasing to the eye. It’s visually astute. It is made by people aware of what these screen images mean, what they refer to, and the psychological effect that they will have on an audience.

The incident depicted in Warfare may have happened nearly two decades ago, but the film seems as fresh as today’s headlines.

The depth of [Thorne's] characters, brought to life by a terrific cast, and tactile world building are what set 40 Acres apart. The setting feels authentic; you could imagine yourself living on this farm with this family.

An unflinching and historically rich rendering of an amazing story. He has made what is easily the best American film so far this year.

Not only a portrait of a great artist, but a sensitive and engrossing depiction of the act of creation and its process.

Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but Cry, the Beloved Country overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit.

Feels like a streamlined improvement on the original.