One part personal mystery and one part art-appreciation class.

This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.

A charming throwback filled with authentic characters.

It’s ultimately everything a modern horror movie should be.

Although Lebanon is to be congratulated for its bold visual strategy and strong antiwar stance, the film becomes claustrophobic after a while.

A film that's all the more intriguing for being virtually impossible to categorize.

The best kind of comic-book movie. It's stylish and spectacular, yet it's rooted in history and human emotions. It's smart yet it's funny. It's wise yet it kicks ass when it has to. Just like the U.S. of A.

Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.

The funniest movie of the year.

At the confluence of altered states and state-sanctioned violence, this drug-fueled thriller is Stone's most successfully provocative picture since "JFK."

Although it alludes to romantic conventions, with overt references to Hollywood history and an overemphatic jazz soundtrack, Wild Grass is neither poignant nor zany. It's an exercise in artifice, not unlike David Lynch's "Mulholland Drive" set in the City of Lights. I'm sure the French have a word for it, but je ne sais quoi it is.

In its uncompromising vision, it may not be for everyone, but it’s definitely the movie that Batman needed.

If you're looking for a political message, either for or against U.S. involvement in Afghanistan, this is not your movie. The directors were satisfied with telling us about a group of courageous, honorable young soldiers - a salute these men richly deserve.

Anyone suggesting that an Italian film could rival the style and grandeur of "The Godfather" might end up sleeping with the fishes. But Il Divo delivers.

Is this a family film? No way. Does it include scenes that some may find painful to watch? You bet. Will you be entertained? Thoroughly.

The Oscar-nominated No has the gritty feel of a foreign film from the 1970s. As such, it may take a few minutes for most moviegoers to adjust to its rhythms. Ironically for a film about advertising, there’s nothing slick about it — and therein lies much of its greatness.

Stallone starring in a comedy? Absolutely. Furthermore, it's a terrific comedy. Oscar is a fast-moving, highly stylized, very entertaining farce that is played as a combination of comic opera (complete with numerous soundtrack references to The Barber of Seville) and Depression-era zany comedy. [26 Apr 1991, p.3F]

Arrival is science fiction in the classic sense and a film of otherworldly ambition.

Morgan’s writing is occasionally pedestrian, but the sweep of the story, the performances and Gavron’s vision make up for it.

A Monster Calls is the rare film that addresses the mysteries of childhood without succumbing to schmaltz.

The performances are spot-on. Ali brings depths of feeling to Juan, giving us a drug dealer we haven’t seen before. Harris (Miss Moneypenny in the recent Bond films) is uncomfortably authentic as an ultimately repentant junkie.

It’s hard to imagine an actor more appropriate to portray Sully than Hanks, who brings to the role a bedrock decency and soulful introspection. And Eckhart is perfect as the droll, easygoing Skiles.

An evolutionary leap forward, a visually exquisite film that doesn't ignore the truths of pollution and predatory survival.

Foley's direction approaches perfection, almost always avoiding thriller cliches and showy distractions in favor of a crisp yet imaginative visual style. After Dark, My Sweet delivers the goods as a crime movie, but it is a fascinating character study as well. [14 Sep 1990, p.3F]

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]

School Ties offers a moving and uncompromising look at religious intolerance, narrow-mindedness and hatred. And although this movie is set in a prep school, it has more in common with ''Gentlemen's Agreement'' than with ''Dead Poets Society.'' [19 Sept 1992, p.7D]

Despite the melancholy background of Scandinavia, the repressive work ethic, the class struggle, this is a beautiful love story. [14 Aug 1992, p.3G]

Although The Gatekeepers lacks the stylistic inventiveness of “Fog,” it is nonetheless a compelling account of what can go wrong when power is unrestrained.