There’s real artistry to Ferdinand.

A smart, nicely paced crime drama, with colorful characters, compelling situations and an assured style. [17 Apr 1993, p.C3]

They Cloned Tyrone can be heavy-handed times and runs a bit long, but the committed performances of its plucky triumvirate of stars go a long way toward the fun.

The film is merciless in showing the obstacles faced by a down-and-out couple in strip-mall Florida, but there's a modicum of hope in the genuine love the characters share.

Assuming you can appreciate the high level of gore and assorted sadistic weirdness, the action is satisfying.

Audiences watch Summer Hours and then, a week later, remember it as though they've lived it.

By tossing out all these voices and opinions, Lee and screenwriter Reggie Rock Blythewood have created both a time capsule and a movie audiences will talk about.

With Pavarotti, director Ron Howard serves up a straightforward documentary about the great tenor’s life and career. It’s just a birth-to-death saga, featuring interviews with colleagues and loved ones and a catalogue of greatest hits, so nothing fancy here. But if you can find a better way to spend two hours, take it — I’ll stick with this.

There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.

The tribute to an aging parent is moving and gives this routine comedy an extra something.

The final frames, which hark back to an iconic TV show, are audacious, yet like everything else in this movie, they are skillfully unadorned.

It's a nightmare fairy tale that can be very difficult to watch.

One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.

Truth is a journalism horror story, something like “All the President’s Men” but with the wrong ending and plenty of blame on all sides. It is one of the most frustrating speak-truth-to-power tales ever put onscreen, because it dares to show how that usually works out: Power wins. Big.

It's a career high mark for Bacon, whose flashy smirk and stifled grimaces flesh out a character both scary and pathetic in this intimate, nostalgic film that delves into the art of the hustle.

The Lost Boys is a horror movie that's funny without making fun of itself and scary without trying to make you sick. [31 Jul 1987, p.86]

Less subtle than its predecessor, Tomboy is like a pint-size "Boys Don't Cry," and as such, it's practically unique.

This movie has a sweetness at its core.

I just don't know how all this sweetness and light will go down with a teenaged movie audience presumably gung-ho with Rambo - especially now that he's got the presidential seal of approval. And that's no joke, son! [3 July 1985, p.58]

Delivers laughs most of the way through.

The highly enjoyable documentary Obit finally gives credit to the storytellers who bring people to life one last time.

[Streep] isa pleasure to watch -- and to marvel at -- every second she's onscreen.

Capable of astonishing even the already cynical.

It overcomes some patchiness to turn into a rich emotional experience, ranging in degree from fire to ice.

In terms of story and atmosphere and overall feeling, Cars 2 is a brand-new experience - and a distinct improvement.

Although nothing really surprising happens (the film has no real plot twists), it’s natural and unforced, like real life. One can imagine that most pregnancies unfold like these, and Swanberg has crafted a universal story observed through small details.

Suffice it to say, the issues here are bigger than one woman's story.

Transamerica provides the frame and the occasion for one of the year's best performances, Felicity Huffman's as a woman trapped in a man's body who's passing for female while awaiting a sex-change operation.