It’s coolheaded and incisive, a thorough and informative study of corporations, their origins and their place in the modern world.

It's an excellent movie for kids, because it is about how amazing children can be.

Best movie of the summer.

A tense, intelligent and sober film.

It’s written by six screenwriters, and it feels like it.

Swedish documentarian Johan von Sydow lets Tim tell the story, mixing plentiful musical performances with narration drawn from Tim’s diaries (read solemnly by Weird Al Yankovic), illustrating the details with animation and a feast of vintage stock footage.

This film is not the classic that Mockingbird has become, but it is still superior, sensitive storytelling. [04 Oct 1991, p.D5]

It’s a perfect package of whimsy, sass and sweetness.

The film is beautiful but troubled, achieving in stretches the director's signature dreamy mood but dragged down by narrative confusions.

Imaginative and properly wicked.

As a woman struggling to define her own narrative, Yeo delivers a layered, heartbreaking performance. But she is ultimately ill-served by both the inertness of the story and Chen’s awkward approach to the material in the final half-hour (no spoilers here).

Maybe this mixed-up and weird, awful but awfully likable movie is what Dirty Harry had coming to him, after all.

Eventually, the imperfect Honey Boy — it could have used more from the older Otis; Hedges is almost wasted — achieves a raw, hard-won honesty.

This is a perpetrator’s perspective on the business of violence, carried out with notions of professionalism while slowly shaking the sociopath’s sense of self. Michael Fassbender’s unnamed contract killer is as delusional as he is dead-aimed focused; it’s both chilling and humanizing.

In 90 brisk minutes, we get a three-dimensional portrait of a private, gender-nonconforming trailblazer who not only paved the way for Black Americans, but also for women and LGBTQ people.

The linchpin is Johnson, who turns in a vulnerable yet confident performance as an always chill woman who might be too willing to make a relationship work, a role she’s mastered since starring in the “Fifty Shades” trilogy.

There’s an absurdist edge, but with nothing of the smart-aleck about it. Rather than use wit as a way of bypassing thought and emotion, Bujalski’s concerns are serious, and his attitude toward his characters is warm without being indulgent.

Curiously and unexpectedly, the movie brings on a suffocating feeling of constraint. It's a consequence of seeing characters with such terribly limited mobility.

The film jumps back and forth to Shirin’s unraveling relationship with her girlfriend, but what stands out are the funny, awkward, sometimes painful moments with her family and with various hook-ups — topped off by a delicate, nuanced and satisfying final scene.

Durham’s direction is sensitive and assured, and he does a great job mixing his location work with archival footage to create an authentic sense of what San Francisco was like during those times. This is not one of those movies that shoots in the city for two days then absconds to Vancouver for the rest of the shoot. This is a Bay Area movie through and through.

The ultimate Julia Roberts movie.

Yet, even at its worst, Zombieland is better than most movies of its kind - disgusting but not too disgusting, and with a few laughs.

Both curious from a cultural perspective and refreshing.

Somehow, it all works -- even if Miller relies on a plot that meanders a bit and loses some of its luster.

Almodóvar presents this material in a way that never splits our attention, even as he’s giving us a deluge of sensory and emotional detail. It’s as if he’s internalized the story so completely that he can’t make a gesture — can’t move the camera, can’t shape a moment — without saying something true.

As Enzo Ferrari, Driver looks stylish and commanding, but the movie doesn’t figure out how to make him into an interesting man.

A humongous animation event that ratchets up the level of the computer art that Hollywood is swooning over these days.

A solidly above-average thriller.