A film that's at once timely and timeless.

Lots of films claim to be different. Birdman is.

This wonderfully wry, painfully funny comedy about a middle-aged boy and his mother is Albert Brooks' most accessible movie. [17 Jan 1997, p.03E]

At once an unforgettable war film and a brilliant character study.

Far from being preachy, Loving is a beautiful film about daring to love, without fear or compromise.

In a stunning performance, Teller resists the impulse to sugarcoat Andrew’s egocentricity. Simmons is equally impressive, lending Fletcher just enough humanity to render his monstrousness all the more shocking.

A strange but compelling documentary. [08 Nov 1996, p.4E]

Up in the Air may not end up as the best picture -- that will be decided by the Academy -- but it has landed in the middle of the discussion because it's laser-focused and right on time.

It's a brilliant film, written tightly enough so that practically every word is important. Add a large cast that blends into a perfect ensemble, plus direction that gives every shot some meaning, and you can't ask much more. [25 Jan 1991, p.3F]

Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

Wilder consistently infused his films with wit and intelligence, offering comedy in his dramas and drama in his comedies. And Stalag 17 is a shining example. [28 Mar 2006, p.E1]

Die Hard 2, which is far and away the best of the big summer action pictures, is an almost perfect blend of suspense, thrills, human drama and, perhaps most important, comedy. [6 July 1990, p.3F]

Oyelowo takes full advantage of his close physical resemblance to King, but he wisely avoids mere impersonation, delivering a performance that’s as sensitive as it is spellbinding.

Don’t be put off by the need to read subtitles. Rarely has a film more eloquently captured the universality of human experience.

Remarkable...For All Mankind is a lovely film. Brian Eno's soundtrack is majestic without being overly sentimental, and Reinert's choice of images ranges skillfully from the ironically ordinary - astronauts eating, listening to country music and teasing one another about personal quirks - to the awe inspiring. [2 Feb 1990, p.3F]

An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.

Often, extending a film franchise signifies a lack of imagination. But Creed is a knockout.

The film would be incalculably different if the lead role had been divided between two or three young actors for a conventional shoot. But Linklater’s patience allows us to see a thoughtful personality being formed both on and off the screen.

Involves the gradual revelation of the hopes, fears and insecurities of well-observed characters.

So I'll just say this: The Big Lebowksi is an excellent movie - and damn funny.

Working from a script co-written with Christopher Browne, director Robert Zemeckis (“Forrest Gump”) pulls off a fabulous trick of his own: delivering a mainstream entertainment that has, at its heart, a poetic sensibility.

One of the best films of the year.

Nev and the filmmakers prove to be charismatic, and at times hilarious, investigators of the unfolding mystery.

The combination of a literate script, an adroit cast and an economical style is simple addition that achieves an alchemical feat: the best film of the year.

Entertaining in a way that’s practically unheard of these days. It’s about the sheer exhilaration of expressing yourself, no matter what anybody thinks.

Bursting with smart dialogue, surprising situations and humor that springs from richly imagined characters.

Richard III is a movie, and a marvelously entertaining one. McKellen calls it a "translation." It is also a homage to Shakespeare, and to the enduring power and universality of his unrivaled genius. [02 Feb 1996, p.1E]

The conclusion of Christopher Nolan's superhero trilogy is a hugely ambitious mix of eye candy and brain food. If it doesn't have the haunting aftertaste of the previous serving, that's only because Nolan couldn't clone Heath Ledger. But beefy substitute Tom Hardy is a hell of a villain.