Director Oliver Stone has fashioned in JFK a riveting, dramatic and disturbing look at one of the great whodunits of history. [20 Dec 1991]

Apart from the excellence of this film, Fennell may have tapped into something tonally that truly expresses the moment we’re in. Point being, we’re in a time of horrible ridiculousness, and ridiculous horribleness. The revelation of Promising Young Woman is that its heightened reality feels more real — closer to actual reality — than comedy or drama.

A complex rumination on the nature of true love and how it evolves. It is also a film rooted in Orthodox Jewish faith.

Greg Berlanti’s movie about a teenager’s coming out is nothing if not sincere. More to the point, it’s not very much except sincere.

This film delivers an emotional wallop, and it's hard to argue against that. Don't miss it.

Doesn't rank as a great film, but it's difficult to take your eyes off it, as you wonder what impossibly bizarre thing might happen next.

This is one of the greatest films of the 1950s, a prophetic film about the dangerous power of modern media.

The picture gives the impression of a director in control of his vision, making precisely the film he intends to make. But the vision is a distinctly idiosyncratic one that will appeal only to certain tastes.

What The Thomas Crown Affair has to sell audiences is a fantasy of the life of the super-rich who jet off to Martinique on the spur of the moment, and the super-smart who operate outside the rules.

More than just culinary recommendations, he provides a cultural guide to the Los Angeles that is almost never seen in movies — and then the film makes an argument that Gold’s L.A. is more relevant than the one we all know.

At its titanium core, M3GAN is a mostly on-the-mark commentary on our tech dependence.

A well-made culture-shock documentary.

A lustrously shot, well-acted and immensely moving romantic drama.

Charming and witty, it's also somewhat clumsy.

Ross surrendered himself to the tale, lavishing time on the characters, getting the period details right and making the races look authentic. The result is a faithful, loving piece of work, and the love shows.

A complicated family story that takes place in three distinct time periods, and that's handled with astonishing ease and fluidity by director Claude Miller.

Bong has an original vision and a distinctive style that’s not to be dismissed. He’s our era’s Terry Gilliam, where hope pushes through the tragicomic nihilism.

The sooner you let yourself go with Kim's flow, the more likely you are to come away satisfied. Think of it as South Korea's answer to "Memento," just don't think too hard.

Not a masterpiece that will change your life, but you’ve probably had your life changed enough lately. It’s 90 minutes of thoughtful, atmospheric, well-made entertainment, and that’s more than good enough.

There’s one big problem about No Ordinary Man: The Billy Tipton Documentary: It’s not really about Billy Tipton. Instead, it’s about how transgender representation is perceived in the media, chiefly between 1989, when Tipton died, and current times.

Happy End is the latest from Michael Haneke, an uncompromising filmmaker whose work is sometimes brilliant and sometimes hard to watch, and sometimes both, but not this time. Happy End is just hard to watch.

For adults, Earth misses the mark of riveting storytelling. Earth crams in the dramatic adventures of several species (including penguins) - with the result that it comes up short on telling one really good story.

It would be nice if there were more movies like this, but few have the talent to make them this well — to take a human scale story and make it feel, not bigger than life, but as grand-scale as life actually is.

Risk is far from a narrative masterpiece — it hopscotches all over the place, with even Lady Gaga making an appearance — and it peels only a layer or two from a man with many masks.

Demon Slayer is sharply paced, colorful fun.

The movie has lots of ironic humor, especially in the earlier segments, and laughter doesn't disappear entirely when the thriller element kicks in.

At the very least, it marks the arrival of a filmmaker with great potential. It also presents a metaphysical vision that’s quite peculiar and not very persuasive if you can’t get on its generous wavelength.

The movie consistently delivers in lots of little ways, but in a big way only once, in a spectacular sequence that begins with a series of earthquakes and culminates in an airline catastrophe.