An efficient, politically inert fantasy.

Red Penguins, is here to serve your bedlam-loving needs. Communism, capitalism, corruption: the gang’s all here.

It is worth seeing Happy End for the long scene between him (Trintignant) and the remarkable Fantine Harduin — between the pitiless patriarch and his granddaughter. Together, they compare notes on the harm that they have done. From generation to generation, the blood runs cold.

First-time feature director Gil Junger gets a lot of laughs in the long setup, but the story eventually reverts to an almost typical high-school romance. Not quite "Clueless."

The work of both Babluani brothers is weirdly stilled and mature, already devoid of the need to show off--serves only to thicken the horror.

The result is a lively bout between bio-pic and fairy tale.

In the end, Lower City is never quite as energetic as it wants to be, touched by the strange, milky lethargy that steeps every waterfront film.

Bullock shades what she normally does into something more interesting -- the angriest and sexiest work she's done. [6 May 2002, p. 138]

This Ingmar Bergman film isn't a masterwork, or even a very good movie, but it is clearly a film made by a master.

The gist of the critical response has been that The Tender Bar follows a well-worn path. Fair enough, but is that such a sin? (You should try the new Matrix movie. Now, that’s worn.) What counts is the firmness of the tread, and Clooney sets a careful but unloitering pace.

Changeling is beautifully wrought, but it has the abiding fault of righteously indignant filmmaking: it congratulates us for feeling what we already feel.

No one who was not laughably self-involved would agree to a project like 20,000 Days on Earth, and yet Cave, to his credit, comes most alive in his hymns to other selves.

The movie is fun, largely because it proposes that fun is the principal legacy of the Beatles.

What distinguishes the latest Cage freak-out is the care with which it’s paced; not until halfway through does he start to lose his hinge, and, even when his face is sprayed with blood, he keeps his glasses on, as if hoping to settle down with a book. Oh, and, if you’ve always wanted to watch him milk an alpaca, your time has come.

Peckinpah's poetic, corkscrew vision of the modern world, claustrophobically exciting.

Where its predecessor kept a foot planted in reality, “Beetlejuice Beetlejuice” barrels through the underworld with an ever-looser, crazier Looney Tunes energy.

Rich in settling and unsettling, Past Lives, for all its coolness, provokes us with difficult questions.

In the middle of this confident retread, the director, Peter Hewitt, and the writers, Chris Matheson and Ed Solomon, sandwich something far more free and funny--a slapstick version of "The Seventh Seal" in which Bill and Ted play games with Death.

Eugene O'Neill's great, heavy, simplistic, mechanical, beautiful play has been given a straightforward, faithful production in handsome, dark-toned color.

Corbijn has an obsessive eye, and it suits the detail-crazy methods of Powell and Thorgerson.

It's enjoyably trivial – a piece of charming foolishness. [24 Mar 1986, p.112]

The whole work drips with a camp savagery (hence the presence of Sacha Baron Cohen as Pirelli, a rival barber and faux-Italianate fop), which in turn relies on the conviction that death itself, like sexual desire, exists to be sniffed at and chuckled over.

Yet Nichols’s movie, though smudged by its dénouement, is not wrecked, and already I am desperate — with a Roy-like yearning — to return to it, and to revel anew in its group portrait of those who are haunted by the will to believe.

Prepare to be surprised by joy, at the outset, and to wind up baffled and sad. Not that the saga is complete; many of the relevant files, at Yale, will not be unsealed until 2066. Less than fifty years to go. I can’t wait.

The movie is no more than a novelty, but it may surprise you by making you laugh out loud a few times.

In all, the movie is a cunning and peppy surprise, dulled only by the news that no less than four sequels await. Will the spell not wear off before then?

Turing will survive this film with his enigma intact, but the movie itself is the opposite of enigmatic, and Cumberbatch merits more.

The implied film is better than the actual one, and the implied one is the movie I found myself imagining with fascination as Saltburn unspooled.