Wong returns once more to what he seems to know best - the visual poetry of the urban Asian night, a world of characters on the move, coming and going, never really getting anywhere. [5 Dec 1997]

Nashef is a sombre Roberto Benigni in his role as a sincere bumbler, defusing situational bombs with hummus-based subterfuge and desperate diplomacy. This satire in Hebrew and Arabic is an answer in an allegorical and comical way, about a mad circumstance and a man in the middle of it. A tense and painful backdrop, sure, but there’s no stick up Zoabi’s butt, just an olive branch.

Good ain't the half of it in this case - it's funny, it's endearing, it's strangely touching. [19 Aug 1994]

Stop the Pounding Heart is the last of Minervini’s “Texas trilogy,” so this isn’t his first rodeo. Indulgently, he explores a world that is near-fascinating for its insularity, but one that probably calls for photographs instead of this film.

Some moviegoers will be repelled – there was only a smattering of light applause during the film’s Toronto premiere, which was filled with audiences who likely leapt to their feet at the end of The Shape of Water – but it is as effective a nightmare as Del Toro has ever conjured.

The Hoax is a fraud, and not a very good one at that. Stay with me here because we're about to spiral down the rabbit hole: The movie is a fictionalized account of writer Clifford Irving's fictionalized account of his own fictionalized account of wacky billionaire Howard Hughes.

Paine does offer something of a heroine in Chelsea Sexton; the attractive EV1 sales specialist was laid off in 2001, became an EV1 activist and is now executive director of Plug In America.

What a graceful movie this is.

The older John Kerry, today's candidate, is conspicuous both by his absence (he's not interviewed here) and by the contrast between then and now, between the hero he was and the politician he's become. That contrast gives the film a nostalgic yet palpable sadness.

Director Andersen’s pacing is dynamic, allowing white-knuckled viewers to catch their breaths before he takes it away again. This isn’t a sequel, it’s an after-shock – and a doozy at that.

The film ends with the mention of Schrager’s full pardon in 2017 by President Obama. If the discotheque was non-judgmental, so is the film.

Never taken seriously in her lifetime – and manipulated by powerful men like studio mogul Louis B. Mayer (sound familiar?) – Lamar never got the recognition she deserved for inventing what became a cornerstone of the wireless technology used today in WiFi, Bluetooth and GPS.

One of the most original, and certainly among the best-acted films this year, 21 Grams focuses on people on the verge of dying, having survived death or grasping at the slender threads of new lives.

Smith is never more beloved than when she plays just this sort of curmudgeon. Happily for the movie, Bennett’s Lady is the cantankerous one the performer was most born to play.

The most unexpected thing about the Lebanese film Caramel is its predictability.

Certainly a bizarre kind of virtuoso filmmaking, but it does not feel precocious or burdened with too many ideas.

Noir connoisseurs, however, will receive Moverman's latest like a double-bourbon from heaven. Rampart is the best crime-movie fix from Hollywood since "Gone Baby Gone."

It is superbly executed and, for all its pitilessness, it's an intelligent dramatization of the impact that consumerist values have had on the psyche of the North American middle class at the end of the 20th century.

Why is she a problematic pop star? That’s the premise, but I’m not sure we get the answer here.

It’s not entirely fair to call I Swear a PSA for inclusion. Above all, it is the story of a man who overcame an extraordinary set of odds to build a simple but meaningful life for himself and foster understanding in others. Yet, you cannot help but hope that the film – and the events surrounding it – inspires us all to think about the messiness of life. And how making space for everyone might involve a degree of discomfort for us all. But we can all, ultimately, live with it.

The best thing about Late Night, a new comedy about modern office life, is that it could be set in almost any workplace and still feel mostly sharp and entirely necessary. The worst thing about Late Night is that it’s set in the world of late-night television.

The heart of the needlessly lengthy 140-minute film is Eilish’s support system, which is to say her family – a screenwriter mother, a construction worker father and her older brother/producer/songwriting partner Finneas O’Connell. They’re all grounded, thoughtful and dedicated to the protection of a self-loathing teen who is coming of age in front of the world.

Crystal is funny in City Slickers but the film is flat and makes the desert feel as cramped and airless as a basement nightclub. [7 June 1991]

Even augmented by the priceless commodity of Smith's talent, $25,575 can only be stretched so far. Apparently, it won't buy you a stellar cast - some very strong lines receive some rather flat deliveries. And some distinctly lame scenes survive the chopping block.

Robocop isn't going to win Verhoeven any medals - the focus remains on action, guns and gore - but it's a flashy movie with enough wit to be more than just another dumb bucket of bolts. [17 Jul 1987]

Cat's Eye is a slickly efficient and very funny omnibus of tongue-in-cheek menace, reminiscent of the best Twilight Zone episodes. [20 Apr 1985]

Despite all these challenges, the performances that Mantello wrings make the 2020 effort worth everyone’s trouble.

All About Nina is a compelling, honest and occasionally messy middle finger to the expectations placed on female entertainers – or just simply women at all.