The pleasure of Bergman's style comes from the extremes that his characters must endure to arrive at that predictable point, and the new tricks that Bergman can teach to an old-dog story line. The airborne climax of "Honeymoon in Vegas" - involving those Flying Elvises (Utah Chapter!) that you've probably heard about by now - turns the ending of countless other movies into something new under the setting desert sun. [28 Aug 1992, p.3]

The film distinguishes itself by what it lacks: simple, unrealistic answers to Perry’s regrets and the hole in his soul. His path to authenticity might not lead back to glory days, but contentment is closer than he thinks.

Colman, on whose face the film frequently rests (does anyone in cinema have a more open, guileless smile?), quietly holds the drama in her hands. Her Hilary is fragile, yet touchingly determined to will herself toward the light.

Jeremiah Tower: The Last Magnificent posits a revision of food history, chronicling the life of the magnetic, repellent man who changed American dining, then disappeared.

While it is a work that can only hold a candle to the enduring piece of literature written all those decades ago, there is still something oddly spectacular about it.

It’s part of the strength of Parker’s film that the current controversy doesn’t entirely overshadow its impact — and that Birth of a Nation immediately becomes part of another crucial conversation, about race.

The picture is a hugely entertaining crowd-pleaser studded with laugh-out-loud moments from beginning to end.

Girl on the Train isn’t likely to haunt its shivering viewers the way the “Gone Girl” movie did. Blunt, however, makes the ride well worth taking.

This sturdy, solid thriller underscores that at their core, survival stories are always stories of humanity’s best, and the impossible things we can achieve when we work together.

A conventional but thoroughly entertaining film.

Hayek plays her role with such gentle conviction, the movie quickly becomes something else: a sort of tragedy of manners.

The Gospel According to André leaves you wishing you knew a little more about this complex, elegant gentleman and his lifelong love affair with style.

Drop gets the job done, and even throws in an excellent cocktail-piano rendition of “Baby Shark.” Go see it on a first date, if you’re brave.

If you don’t already care about Hank Williams, this movie isn’t likely to change that.

It’s a movie full of small pleasures.

The film is an absolute triumph for Adams, who attacks her role like — yes, sorry — a dog with a bone.

An engaging picture brimming with uplift.

Bjorkman emphasizes the connection between Ingrid’s private and public lives, most movingly in her last film for theaters, “Autumn Sonata,” in which she and Ullmann played mother and daughter.

The segments, though short, are nastily effective.

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.

There are moments in Love Affair that take your breath away, sending you back to a time when class and discretion were the movie rule, and not the rarefied exception. [21 Oct 1994, p.H36]

If tense man-against-nature arm-wrestling is your jam (think Robert Redford in “All Is Lost,” but with snow and Mads Mikkelsen) this film makes for a compelling hour and a half; you know where it’s going, but you never quite believe it’ll actually get there.

The eye is enchanted by the richness of the picture’s spectacle.

Director Steve Barron guides the mayhem with controlled abandon, and the script contains just enough simplistic plot to give the 88-minute comedy an adequate foundation. [23 July 1993]

One of the great pleasures of moviegoing is seeing an actor perfectly cast, in a role that takes all of the performer’s trademarks and quirks and transforms them into something we haven’t seen before. Such a performance is at the center of Paul Feig’s sly thriller/comedy A Simple Favor, and the actor is Anna Kendrick.

The time-travel element gets awfully twisty, perhaps a little too much so. But there’s great pleasure to be had in the performances, particularly Green’s deliciously avian Miss Peregrine.

There's an anger and rawness here that fit hand-in-glove with Bruce Springsteen's "Badlands," which serves as the opening song. [3 Apr 1992, p.28]

Maximally cheeky. Perversely potty-mouthed. Riotously funny. Insanely violent. Uneven as all get out. And fun, fun, fun.