Here, the focus is on Knightley, who delivers some of her best work.

A fast-moving, clever and funny picture.

Disobedience unfolds quietly but passionately, with a generosity of spirit toward its three central characters.

One is left with a director’s reverence for an artist’s point of view — not a terrible thing, to be sure.

There’s no happy ending to this story, but it’s a pleasure to spend just a bit of time with Radner again.

Feels utterly fresh for our times.

The spell Miss Hokusai casts is a powerful one that lingers long after the lights go up in the theater.

Eastwood and screenwriter Todd Komarnicki deftly create tension by twisting time around.

Along the way, we learn that all four actors are not only charmingly believable as friends but also brilliant at physical comedy.

Is it as good as the book? No. Did it make me happy? Oh yes, and how nice to be reminded what a gift a joyful rom-com can be.

While Holland may not have imbued the garden with the enchantment so evident in the book, she has sublimely captured the beauty of the garden itself. It offers a simple but overwhelming connection to the kind of paradise we must look harder to find.

It's light and fizzy and fun without once calling attention to the fact that a lot of hard work went into it (Gerald Scarfe's sharp production design keeps it from looking quite like any other Disney cartoon). [27 June 1997, p.F1]

A classy thriller with a notable period atmosphere and intelligent use of the macabre. [07 May 1992, p.3]

Hock handles that perennial sports question — what is the athletic limit of a human? — with interesting sidebars about the brain and physics. Such mysteries mingle with irresistible lore in this satisfying work.

It’s a quick, funny movie.

Both star and director are at the top of their game here, and that’s as good as movies get.

The first-time director, Cesar Augusto Acevida, composes his frames carefully, using closing doorways to suggest alienation, as John Ford did in “The Searchers.” The harvesting and crop fire scenes recall Terrence Malick’s “Days of Heaven.”

It’s a moving and engaging film about finding truth, told through the perspective of two people who are very, very good at their jobs.

A charming, moving and over-too-soon portrait of a country, and of what it means to have a longer than expected life.

Do yourself a favor and go see The Crime Is Mine, a delicious bit of French froth from master director François Ozon.

The fun here is in the little moments the actors find, and in the way that Waititi, within the massive machine that is a studio superhero movie, brings out a looseness and playfulness in the performances.

Not every moment in the film works perfectly — Matsoukas, on occasion, slips the actors’ dialogue into internal monologue voice-over, which mostly just seems confusing — but Queen & Slim has a remarkable power. You watch it recognizing the world you know, and wishing you didn’t.

Novitiate is a fascinating, unblinking yet respectful look at a time and place — a women’s community where a visiting archbishop (Denis O’Hare) can act like he owns the place.

Each sequence is cleverly planned and staged, but timing is everything, and the rhythm and cadence of the edit is perfectly executed by Sabrina Pitre.

It kind of gives you a sense of whiplash, oscillating between the glory of professional victories, the miasma of personal grief and the nexus where those two often meet.

At times, the film approaches gallows comedy...perhaps a little too much so; at others, it’s a tense, chilling look at a seemingly unbearable choice — refreshingly, without telling its viewers what to think.

Down in the Delta is Woodard's movie, and she deftly sidesteps most of the traps in her way. Instead of trying to make sense of the character's sudden transformation, she looks for the bit of truth in each of Loretta's apparent contradictions and works on it. Scene by scene, she builds a character who almost adds up. [25 Dec 1998, p.18]

It’s a simple, moving story about love, loss and storytelling itself.