The real reasons to see it are Barrymore, Barrymore and Crawford, the beating hearts of the picture. [21 Jun 2018, p.E5]

Applegate gets by without a false moment in a role that's more serious and has more angles than the airhead she plays on television. I want to see the movies she'll be making in about five years. [07 June 1991, p.E6]

Not for the faint of heart.

This is one well-made thriller, and for a director who wants to work in that genre, this is as strong a first feature as any filmmaker could hope for.

Petra Costa’s documentary “Apocalypse in the Tropics” — which not only details Bolsonaro’s rise and fall but how democracies can be subverted and dismantled — is pretty timely.

Jones uses Furie’s story, and some gorgeous animation, as a wonderfully succinct window into the way social media has changed the country. By letting 4channers speak for themselves, the film also puts a face to the bad actors without ever letting them off the hook.

A passionate, chronicle of an extraordinary artist, and a love story that can't be beat.

A return to rowdy form for Chappelle.

Hero was directed by Stephen Frears, who has made some of the better movies of the last few years (Dangerous Liaisons, The Grifters), but here his direction isn't nearly as sure-handed. Watching it I got the distinct sense he wasn't liking the movie he was making, or that, at the very least, he was struggling to keep up. [02 Oct 1992, p.C1]

The most exciting contribution to The Girl on the Train is that of Wilson. It’s exciting because it shows that it’s possible, despite the odds, for a distinctive screenwriter to express herself consistently and dominate a film. And it’s exciting because this is a unique voice, and very much a woman’s voice, that our cinema needs.

As played by Boseman and Gad, Marshall and Friedman are a complementary pair, like something you’d see in a buddy movie — one fit and one fat, one black and one white, one tall and one short, one calm and one stressed, but both Americans working together in a just cause.

Wood is superb at delineating Tracy's slide into desperate incoherence, but equally impressive is Reed, who has to conceal her writer's intelligence in playing a character who's entirely instinctive and unreflective.

Guest's boldest move is to present the revue in its entirety. It's as if Mel Brooks had shown the complete "Springtime for Hitler,'' the play within his 1968 movie, "The Producers.''

Occasionally, “All Things” gets stuck in a groove of industry and business minutiae — a 10-minute trim would have made this film even better — but overall, this is an assured effort: informative, bittersweet and appealing for both the young and the not so young.

The new Footloose does everything it needs to do. It's a vibrant youth musical that will appeal to audiences who haven't seen the 1984 original. And it has enough charm and life to it to compete with the memory of the earlier version.

The picture moves slowly but never sluggishly, and it never grinds down. The measured pace shows real assurance on the part of Costner. [9 Nov 1990, Daily Datebook, p.E1]

Darkly comic tone of heroin-addiction film sets it apart

Kalashnikov is also smart enough to keep The Road Movie down to 67 minutes, which is all he needs to create this particular vision of hell. (And, by the way, he does so without showing bloody or mangled bodies.)

This is a mature film from a mature director who gets more assured with every outing, even if this contained character study does not rank among his most ambitious efforts.

One of the most witty, entertaining family films to come out in some time.

The Dictator's over-the-top rant against the rank lunacy of authoritarianism deploys comedy like an act of violence; it's outrageous, quick and leaves us breathless, whether from laughter or shock.

The film's grungy, ultra-low-budget look, thanks to the Safdie's handheld camera, is just right for catching the crummy, hardscrabble, rat-infested milieu.

Cronicas has a cracking good plot, a central moral issue and John Leguizamo speaking Spanish. What more does a film need?

Clever, exceptionally well-written film.

Still: A Michael J. Fox Movie is irresistible. While his Alex P. Keaton of “Family Ties” and Marty McFly of “Back to the Future” are beloved characters, the actor who gave them life is much more interesting and real.

The Apprentice is an anti-Trump movie, depicting his early career as a real estate developer in New York City, but it treats Donald Trump with a modicum of sympathy.

It's safe, and it's smart, and even though it's lightweight compared to "Boyz" and bound to disappoint a lot of Singleton's admirers, Justice demonstrates that Singleton is more than a one-shot wonder. [23 Jul 1993]

The overall experience of the movie is of something fresh.