Logan takes its indestructible metal claws to comic book movie norms and destroys them, and it’s a wonderful thing.

The most amazing act in the Gran Circo Mexico doesn't take place in the ring - it's the grind between performances.

Whereas “Weeks,” made without Boyle’s and Garland’s involvement, felt like a rehash with poorly motivated actions, “Years” is carefully thought out and would be vibrant filmmaking even without the previous material.

Mehta has created the perfect guide to this strange female world.

With impressive clarity and sweep, The Rape of Europa recounts the Nazi theft and destruction of European art and architecture.

Lone Scherfig, the writer-director, has made a film so unabashedly hopeful that it actually makes the heart soar. Yes, soar.

It's the portrait of an artist who had neither time nor respect for literary niceties -- he was, in the words of publisher John Martin, a "man of the street writing for the man of the street."

Contains an incest story line that's disturbing but shouldn't scare people away. Nair handles the subject with such grace and sensitivity that it becomes just another element in this complex celebration of family.

The Plot Against Harry isn't stark and merciless enough to be a black comedy or zany enough to be just plain fun. After a while the oddball characters and unlikely twists of the plot lose their charm, and the movie just seems self-conscious and cute. [07 Feb 1990, p.E1]

I Stand Alone ("Seul contre tous" in French) is a portrait of a pathetic soul, but it is also a cautionary tale. The butcher cannot be dismissed as a monster, nor is this a creep show. Something like the butcher's story can be found almost every day in newspaper crime reports.

It would be wrong to say Close’s performance in The Wife is wasted, but it certainly deserves a better movie.

It is by far the sharpest-looking DreamWorks Animation film to date.

A film that, despite its slight intentions, offers several lovely moments.

Deceptively unadorned. In its simplicity, it digs for complex feelings and ideas — and is particularly timely, considering current political winds and Paris’ announcement of its first refugee camp.

This movie is seriously funny, surprisingly funny, not funny in a way that you ever decide to laugh, but funny like you couldn’t keep quiet even if you wanted to. The laughs, as they say, keep coming.

Cunningham's work is about seeing and teaching us how to see, and that should be plenty for us.

Herzog is not able to go into a lot of depth. That keeps Lo and Behold from greatness, but it is nonetheless compelling, because of the way Herzog organizes the material.

Serbis has the feel of a documentary, but a documentary can't accomplish what Serbis does: Take us to a corner of the world where sex and regret are so intimately entwined.

Remarkable rockumentary.

In the end, though, “Kneecap” is a dramatically well-structured tale of cultural and personal reclamation – done in the cheekiest, craic-talking way imaginable. It’s as if “The Commitments” had a bastard child with “The Crying Game,” and it mutated into its own, magnificently defiant thing.

The movie makes something of a case for him, in that he is quite a good piano player, with absolute command of the blues, country and rock idioms, but there isn’t enough here to make someone a fan who isn’t already interested.

Leaning Into the Wind asks us to appreciate art for art’s sake, and that’s not a tough ask at all.

It all adds up to an entertaining combination of suspense and melodrama, a movie that doesn't cohere too well - and veers toward the silly in its more-obvious plot mechanics.

The film's loose, scaled-down technique never turns gimmicky...but enhances the tension and intimacy of Rosetta's struggle.

Presented without preachiness or affectation, Kandahar is a short, matter-of-fact visit to hell.

The inescapable, undeniable weakness of Father Mother Sister Brother is that, while its first part is thoroughly satisfying, its second part is just OK, and its third part is close to a waste of time.

Blue Caprice tells its story in fragments, a provocative strategy that sometimes works to chilling effect, sometimes not.

Ali has done such a masterful job laying out his tableau that we’re not only enamored with the characters, we want to know where they end up.