Fruitvale Station has all the impact of a thoroughly researched, well-argued documentary. But Coogler made the right choice in going with drama.

The Last Days manages to accomplish something even those other esteemed works do not: It melds meticulous historical accuracy and rare film footage with an achingly human spirit provided by five survivors. And all this is delivered in a fresh, concise manner. [12 Mar 1999, p.E3]

It sustains a palpable fatalism in such recurring details as a whirring buzz saw and the cry of a loon, while the static camera and lack of musical cues enable some unforeseeable plot twists.

The whining reaches new heights in Husbands and Wives, and it was one of the things that bothered me. Another was the over-jerky camera movement as he tried to give the film the look of a documentary but only made it look like a bad home movie. A third was his use of characters looking straight at the camera and talking to an off-screen person, perhaps a psychiatrist. I think that's a phony device. On the other hand, I found more Allen humor along the way than in several of his recent movies, and he kept it brighter than the depressing tone the subject matter would seem to allow. When he didn't whine, Allen was excellent, and so was Sydney Pollack as his friend Jack. [27 Sept 1992, p.6C]

The best film of the year and perhaps the purest love story in cinematic history.

Farewell My Concubine is a work of passion and compassion, another great work by one of the so-called fifth-generation of directors who are making the Chinese cinema one of the best in the world. [29 Oct 1993, p.3F]

With exquisitely simple images and minimal dialogue, Seraphine is both haunting and humane.

A stark, contemplative and hauntingly brilliant film.

Unsettling yet mesmerizing, The Witch is more of an art film than a horror flick.

While Looper lacks the heft of a classic, this wayback machine is worth taking for a spin.

In a first-rate cast, Titieni turns in a brilliant performance as a man who sacrifices long-held values to bow to the expediency of the moment.

Working from his own screenplay, director David Lowery (“Ain’t Them Bodies Saints”) delivers a risky, challenging film that unfolds with a spellbinding momentum. Just what it all means is left to the viewer to contemplate.

An Oscar-ready collaboration between a great director and a star at the peak of his powers, but at its heart is a message in a bottle reading: "Trapped in paradise. Please send help."

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]

Star Wars: The Last Jedi has more than enough action, humor and stuff blowing up to thoroughly satisfy fans of the long-running franchise.

If what you seek from a samurai film is the friction between communal duty and personal honor, join the orderly queue to see 13 Assassins. But if what you seek is action, spend the talky first hour at a sushi bar before barging into the theater for the bloody good finale.

What makes this low-key movie memorable are the pitch-perfect performances.

Typically lovely to look at, with big-eyed young people espousing high ideals amid natural splendor. But outside of their bubble, a prickly history looms, and Miyazaki’s dubious attitude toward the wartime role of his hero makes the movie a mixed blessing.

Most of all, it’s a magical feat, one that turns puppets into personalities and an English meadow into Anderson’s world.

It's often obscenely funny, but it tickles more than it stings.

There's so much higher intelligence in Project Nim that simply digesting it feels like evolutionary progress.

For better or worse, this is a straightforward performance film.

Titanic technical achievement.

20th Century Women doesn’t have much of a plot — if it has one at all. But the film beautifully evokes the era just before Ronald Reagan entered the Oval Office.

The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."

All of the performances are skilled, and yet it's Weaver (a veteran screen, television and stage actress in Australia) who, in a smaller role, creates the character who stays with you.

For cinematic sojourners, Hugo is a trip to the moon.

A marvelous piece of work.