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.

The end result is flawed, but also funny, heartfelt and inclusive movie making.

Ultimately, the film is carried by Skarsgard in yet another triumph in a Norwegian film.

Ultimately, The Duke tells an enjoyable real-life story.

Ultimately, the film does its job with skill and heart.

The Secret Garden unfolds like a richly illustrated storybook. It's an enchanting film, full of visual surprises and a story so simple and wise that it makes most ''children's'' entertainment seem gaudy and facile and overly explicit. [13 Aug 1993, p.C1]

Somewhere in the translation from stage to screen, The History Boys has become an intelligent misfire. What's left is a literate but listless film.

They fractured Greek myth but slapped mountains of comic muscle on the hunky hero in Hercules. What fun! The great old Greek is turned into a '90s-style athlete who gets endorsements, sandals named after him and a chance to stand tall among nymphs and muses after whipping the villainous lord of the underworld, Hades, personified as a Hollywood movie mogul type.

Heart-wrenching film.

Bucking the lava tide of computer special effects gushing out of Hollywood this season, the makers of Breakdown use old-fashioned ingenuity -- plus a compelling star, a fast- paced mystery and a deadpan villain -- to come up with a sizzler.

Whatever one’s politics, it’s hard not to be charmed by Ivins’ feisty demeanor and, by extension, Raise Hell: The Life and Times of Molly Ivins.

For baseball fans, it delivers the high heat. For the non-fan, there may be a little too much inside baseball.

Sir! No Sir! is far from a dry rehashing of what may seem for some like ancient history. Driving guitar rock and lively editing add to the film's urgency. The voices of the veterans alone, however, make this an important and poignant film that can speak to any generation.

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.”

It is quite simply one of the great “making of” documentaries of all-time — a short list that includes the George Hickenlooper-Eleanor Coppola documentary “Hearts of Darkness.”

Consistently absorbing as the amazing Deneuve reveals, scene by scene, new facets of a fascinating character in a mercantile war that involves equal parts greed and vanity.

It's never less than worthy and entertaining, but the importance of Invictus doesn't broaden as it goes along. It narrows.

This easygoing movie fully captures the couple's charm and offers a unique look at the '60s and '70s New York art scene.

The visuals are splendid. Even close-ups of face and hair are something to marvel at.

Will & Harper works best when the serious issues that confront trans people are openly discussed, from acceptance to mental health issues and the simple problems of daily living.

Great to look at but not much fun to watch… An emotionally uncommitted picture that's smirky and mawkish, by turns, and at heart, empty. [14 Dec 1990, Daily Datebook, p.E1]

The result is a deeply moving experience, alternately funny and sad.

It feels like living inside a pressure cooker with one particular family — experiencing their turbulence as if from the inside, while always a little glad to be watching from a safe distance.

The movie doesn’t just suffer by comparison to “High and Low” (itself adapted from Evan Hunter’s novel “King’s Ransom”); taken by itself, its pace drags, its tone staggers and its ideas are muddled.

The movie's satisfactions are subtle, but they run deep, and there are many.

It does not follow the usual pattern of a Hollywood film. It goes to places that are desperate and irrevocable.

No one emerges unpunished.

As in a good European film, shots are allowed to breathe. The focus is on character and human emotion. At the same time, the movie shows an American concern for pace and story development. The result is the best of both worlds.