The director clearly takes depression and suicidal urges and the possibility they may be hereditary very seriously but that doesn’t mean that the film isn’t often very witty.

This is a work of art so deep and resonant that it puts most narrative films to shame.

Though the story has undergone quite a few changes, what’s intact is the novel’s grittiness and emotional honesty, which more than compensates for the occasional coming-of-age cliche.

Predator: Killer of Killers provides the non-stop action that the diehard fans crave.

Bigger, badder, bolder, longer, and featuring nearly more spectacular set pieces than one movie can comfortably handle, this epic action film practically redefines the stakes.

A documentary that starts out odd and ends up oddly sweet.

Defying any logical narrative, the film relies on poetic images and associations. It suggests that the most frightening thing in the world can be in your own mind.

Running the gamut from social comedy to actioner to war movie, Clash is an original, often quite disturbing experience to watch.

Co-directors Julia Halperin and Jason Cortlund (Now, Forager), working from Cortlund's script, keep us guessing not only about the intentions of Sinaloa (Sophie Reid), but also about the path of their absorbing, mostly low-key thriller, which builds atmosphere, psychological texture, an ingrained sense of place and a needling undercurrent of dread.

This is derivative if well-executed product, except when it comes to the relationship at the film’s center.

A step up in terms of complexity, with more subplots and a larger cast of protagonists to juggle and less instantly sympathetic characters or an evident cause to rally behind, this drama again offers many quiet, often character-driven rewards but struggles to become larger than the sum of its parts.

I’m much more comfortable with Roadrunner as a portrait of an evolving, complicated, tragic TV personality, and as one of the best behind-the-scenes glimpses of a TV show (or shows) I’ve ever seen, than I am with it as an attempt to make sense of a man who, for whatever reason, no longer wanted to continue living.

Amanda Knox makes for succinct, involving viewing — a true-crime doc that acknowledges the lingering debates over its subject's guilt while prompting one to ask: Why did anyone ever believe this outrageous stuff in the first place, much less cling to it for years?

Becoming Bulletproof is as enjoyable as it is inspiring.

The gorgeous and often forbidding scenery (there's a harrowing episode set in an underground lava tunnel) should provide a visual balm to those suffering the claustrophobic effects of quarantining. The terrific music score, featuring numerous contributions by The Avett Brothers, feels like a bonus.

Soderbergh and McCraney have entertainingly stirred the pot and put a perspective on the screen that will stir some reactions in the real world and get the issue of ownership and fairness talked about, at least for a while. It’s a sharp-minded film.

The film is a remarkably insightful and powerful portrait of the human condition.

A companion piece of sorts to First Reformed, this is another bruising character study of a solitary, burdened man who processes his most intimate thoughts in a journal, living with his guilt until he’s handed an unexpected opportunity for redemption.

Tedeschi’s film is a declaration of love for the Beatles, but what distinguishes it is its curiosity about the America of that time, beyond the bubble of the four Scousers who can hardly believe they’re drinking cocktails in Miami.

The result is uniquely powerful, putting faces and human consequences to a political dispute that seemingly will never end.

One's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.

Hong Kong writer-director Wong Kar-wai's "Chungking Express" is hip and entertaining... Technically, the film is first-rate, while all the principal performers are excellent. [9 June 1995]

Enlivened with droll wit and framed with robust sensitivity, O'Horten is an amusing and entrancing personal portrait. Succinct in its visualizations and crisp in its pacing, its deferential storytelling is in sync with its Odd subject.

After watching Maysaloun Hamoud’s sparkling, taboo-breaking first feature In Between (Bar Bahar), audiences will have to seriously update their ideas about the lifestyle of Palestinian women in Israel.

[A] small-scale but deeply moving documentary.

Powerful enough to make even the most cynical believe in the ability of ordinary people to induce political change.

There’s a beguiling dichotomy in Kristen Stewart’s accomplished first feature as writer-director — between the dreamlike haze and fragmentation of memory and the raw wound of trauma so vivid it will always be with you.

Catherine Gund's Born to Fly works very well as a portrait of a maverick artistic sensibility, even if it will leave some viewers wanting more in terms of performance footage.