It's no masterpiece. In fact, it's not even all that good. But it has that great character in it -- Falstaff, or in this case, a thinly veiled Vito Corleone -- so it's something to see. [27 July 1990, p.E1]

Killer of Killers continues the concept co-director Dan Trachtenberg applied to his 2022 live-action “Prey,” only with the more elaborate action, wider scope and graceful, graphic kineticism animation can accommodate.

There’s no question that John Wick: Chapter 4 is really good for what it is. The only bad thing is what it is.

Neville’s portrayal is gripping, emotional and therapeutic, but fans looking for clear-cut answers won’t find them.

Not counting no-budget movies with casts of nonprofessionals, The Humans is one of the worst-directed films in recent memory. It plays like a wicked practical joke or a deliberate act of sabotage.

Schrader’s characters are haunted (please see “First Reformed” if you haven’t). They’re also deeply moral, not in a dime-store virtue kind of way but in the sense that they struggle mightily to do the right thing. In the end they’re painfully human, which is why they keep resonating after the lights go up.

The film's sense of intimacy, its closeness to real people and painful events, allows it to reach a deeper place than more conventional pieces of political rhetoric.

How to Draw Bunny won the Special Jury Prize at the 2002 Sundance Film Festival, which must go to show how scarce noteworthy documentaries are.

A documentary that is as thoughtful and inspiring as the music it celebrates.

All told, the best ensemble cast I've seen this year.

Sweet-natured, meticulously observed love story.

For all Wong's energy and virtuosity, the relentless stylishness and whimsicality of Chungking Express become irritating. The cast is appealing -- particularly the forlorn young cops. But the velocity of Wong's attack seems out of proportion to the airy, lightweight quality of the stories.

The strangeness, humor and melancholy of aging are deftly explored in this film.

Kinda cute, occasionally amusing and very, very slow... I just wish [it] had more momentum, more oomph. [9 Oct 1987]

An engaging, revelatory slice of life.

This illuminating film by director Gini Reticker and producer Abigail Disney is a much-needed attempt to put the spotlight on a moment of history that still inspires, especially because that moment led to Taylor's exile and to Liberia's election of Africa's first female head of state.

You can love or hate “The Chronology of Water,” but if you don’t come away from it marveling at the brilliance of Poots’s performance, you just weren’t paying attention.

Unique and courageous. It may be counted as one of the year's few steps forward in cinema.

Loneliness, mistrust and love keep turning the tables on each other in a terrific suspense thriller. [24 Aug 1990, p.E1]

Johns is terrific, the heart and soul of the movie, playing the kind of guy that’s the heart and soul of any industrialized country on the planet.

Well made, provocative and compelling.

With a subject like Roman Polanski, you don't really need to do much to capture audience interest. But maybe that's the reason Roman Polanski: Wanted and Desired doesn't live up to its promise.

One of the best films to open in the Bay Area in 2007.

Moments are stretched. Every recollection must be illustrated by a flashback. Character motivations shift on a dime, and if you understand even half of what's going on - not generally, but specifically - you'll be doing better than most.

It’s Miller, however, who gives the most affecting performance, in that we see the light fade from her eyes. What an awful thing this husband did to her — to praise her for courage and then use all her courage against her.

Washington, no surprise, is terrific, his sensitivity offset with touches of knowing, self-deprecating humor.

Girl Picture excels at showing how teenage life can be a sensory experience that’s exhilaratingly joyful and unbearably painful, sometimes simultaneously.

If you partake of the Marvel universe, this movie is for you no matter what. And if you don’t, seeing it would be like going to church if you’re an atheist — an experience of spectacle unmoored from any purpose or definition. In the case of “Endgame,” we’re talking fine spectacle, to be sure, the best that money can buy. But all the same, this one is strictly for the faithful.