The antics that prevail along the way, and the character changes the pair undergo as L.A. grows nearer, are memorable.

This film makes you wonder why aren't there more young love movies?

The film is as much about the creation of the original show back in 1975 and the genius of the late Michael Bennett, who masterminded it, as it is about the newer version.

To see this film is to understand — not in an intellectual way, but in a direct, visceral way — why the British ignored the threat of Adolf Hitler for so long.

Like Someone in Love is best suited to viewers already familiar with this extraordinary filmmaker's better work.

Tribe superfan Rapaport doesn't fawn, but he juggles too much, and the ending feels pat. It's still an outstanding effort, and one of the more honest band biopics in recent years.

If there were any justice in the world — there often isn’t — Alice Guy-Blaché would be remembered alongside D.W. Griffith as one of the great pioneers of the early screen. The good news is that she is becoming better known, but as the new documentary, Be Natural: The Untold Story of Alice Guy-Blaché makes clear, not nearly as much as she deserves, nor for the right reasons.

Barely 20 years old at the time of filming, Pugh has a surface poise and an inner turbulence, a capacity to command the screen with the spectacle of her watching and thinking. The last time something like Pugh happened, she was called Kate Winslet, and the movie was “Heavenly Creatures.”

The thrills in Spike Lee's singularly savvy thriller are in small unexpected moments.

The film boasts an original score by Cuban pianist and composer Bebo Valdés, who was featured in "Calle 54."

Its main virtue is that it provides Murphy with a juicy role.

Guardians of the Galaxy is pretty much where action movies are these days - a combination of comedy without wit, action without drama and elaborate visuals that are nothing much to look at.

The plot is spare, but unsettling imagery elevates The Hunter to the level of pure cinema.

Rosendahl brings a wonderful innocence and burgeoning sexual awakening to the role, while still evincing inner strength and complexity. In her unconscious attempts to regain her soul, Lore pays the ultimate price as she discovers the stink of who she and her family and her country had become.

Without an ounce of the polemic, [Ewing] offers a vivid perspective of the United States’ immigration issues through a romantic lens. It’s not a new perspective, by any means, but the way she brings it has a poignant beauty all its own.

The kind of little film you can get cozy with, laugh at in odd places even when nobody else is laughing - and yet people will not turn around to glower at you because they understand. [12 July 1989, Daily Datebook, p.E1]

It's so wonderfully silly, coarse and down-to-Earth that its radiance sneaks up only over time.

When you see a director going for that lump-in-the-throat mood, instinct takes over and you want to dig in your heels. Sometimes it's best just to let yourself be swept away.

It is a well-researched smorgasbord of newsreel and documentary footage spliced with current interviews with those on the front lines.

The worst failing of Corsage is that it makes Sisi boring and unsympathetic when it’s trying to do the opposite. You kind of catch on that there’s something wrong with a Sisi biopic when you start sympathizing with Franz Joseph, who not only was a lousy husband but helped start World War I.

Takashi's film is sumptuous, with rich cinematography, costumes and set design. Half the time it is a game of chess - the battle of wits between Motome and the lord. Half of the time it is a moving melodrama.

It shouldn't be missed. This is a fact-based story of the French resistance who had to fight not only the Germans but their own people. The title comes from the term in a propaganda poster that the Germans and occupied French government used to label the fighters as terrorists.

The picture is a soggy, all-over-the- place mess.

A sensitively wrought work.

Flows in a way that seems effortless, following its own path, arriving at its own place. Only after the movie is over are the outlines of its story apparent. I found it impossible to outguess it. [12 July 1991]

Seriously, if you dislike Liza, you might want to take a look at yourself and figure out what’s going on there. Or, better yet, just go see “Liza: A Truly Terrific Absolutely True Story,” the new documentary about her life and career, and become a convert.

As in The Florida Project, Baker lingers too long on the atmospherics, and that’s fatal here, because Red Rocket is a comedy and needs a brisk rhythm.

The finest American Westerns have a characteristic that 3:10 to Yuma shares. In a way that's almost mystical, they suggest a truth beyond the specifics of the tale.