The writing is subtle and refreshingly without sentimentality — sentimentality being a common flaw in Middle Eastern cinema.

Fremont is content to let small moments stay small, threading them together for a compelling tapestry of shared humanity.

Not only is a good look at a man who carved a small but important niche into the folk world but a good record of the turbulent 1960s and what motivated its protesters.

The movie’s stylistic idea gets in the way of its story, and the story is too slim to sustain a full-length feature. And as the political ideas become as self-conscious as the style, Where Is Kyra? starts to feel a little like poverty porn.

If it falls short of greatness, it's not by much - and it could end up growing with the years. At the very least, it is exceptional and one of the best and most original pictures to come along in 2012.

Now in middle age, members of N.W.A. no longer believe all of the hype. They’re in an introspective space, to the great benefit of this film.

It’s not for kids, however; though not rated, it has some nudity and violence that would veer into R territory.

Juror #2 is very much the work of an engaged, sensitive director — a series of tight, focused scenes informed by strong performances. There’s something classical about it, old-fashioned in the best way, like a 1974 Coupe de Ville or a 1962 Buick Electra. It’s a smooth, solid ride.

Character consistency is fleeting, to say the least, but who cares? So many of these guys are gone now, just watching the cast having such a great time is half the considerable fun of the film. [28 Jan 2007, p.30]

A zingy self-empowerment fantasy for kids.

It’s as realized a thriller as you are likely to find, not only in the precision of its performances, but in its evocative use of location (Rome, London), its period detail (especially Williams’ clothing) and the tension of the younger Getty’s months-long captivity.

It’s brilliant, and extremely moving. One Week and a Day has its moments, just not enough of them.

Still Mine is uplifting and heartbreaking, a contradiction that results in the viewer exalting and being let down at the same time.

An atmospheric and, to a degree, challenging mashup of psychological, social and folk horror, Nanny casts a spell it doesn’t put us entirely under.

A mostly compelling documentary about that rarest of breeds, an appealing politician.

By the time the ride is over, director Drew Goddard and co-writers Goddard and Joss Whedon will change course three or four times, nodding and winking but never losing momentum.

The films never lose sight of Mesrine the man, a fascinating character in that he's brutal yet extremely intelligent, has a skewed but discernible conscience, and, under the right circumstances, can be warm and generous.

Miami Blues is offbeat and fun. [20 Apr 1990, p.E1]

Male loneliness and insecurity is a thing and the subject of much discussion in media. For me, though, there’s only so much cringe you can binge.

If all the laughs come from Depp, who gives Willy the mannerisms of a classic Hollywood diva, the film's heart comes from Highmore, a gifted young performer who had a leading role in "Finding Neverland." His performance is sincere, deep and unforced in a way that's rare in a child actor.

My main quibble is that the ending is a bit softer than I might have hoped for, but don't let that dissuade you. Headhunters is a well-oiled, nasty machine.

Glatzer and Westmoreland live in Echo Park, and they have given their film a remarkable sense of place.

Despite its actors, its lush photography and its obvious seriousness of purpose, is as close to a form of torture as any film ever devised. I can't think of any individuals I dislike so much as to force them to see this picture.

Haunting music, the seriousness of the allegations and riveting interviews with Alexander Haig, Christopher Hitchens (whose book inspired the film) and others give "Kissinger" extra drama and urgency.

Heartfelt but somewhat bloated documentary that's partly an homage and partly a literary mystery.

Leigh doesn't sentimentalize these tragic, dead-end lives but allows his characters to be ugly and stupid, to make horrendous mistakes. Sometimes they're laughable, and yet there's never the sense that Leigh is mocking them.

Documentary reaches an exalted level of filmmaking. It explains the very fabric of American society.

Calaizzo’s script is sharp, funny and honest, and nicely avoids movie cliches about obesity. Bell’s performance is very good, both physically — the actress herself lost 40 pounds for the role — and emotionally.