Despite an unnecessary reliance on blurry re-enactment scenes early in the film, Wardle makes Three Identical Strangers as spellbinding as a great psychological thriller.

Patel’s passion project Monkey Man is a big swing, and a big swerve for the actor. Luckily, it connects, landing with a satisfyingly bone-crunching intensity. And if the movie is intended as Patel’s calling card, he leaves the whole damn deck on the table.

Thanks to the excellence of its two key performances, “Stockholm” an uncommonly effective thriller, one with a heart and a brain.

This new animated feature has a more exciting story line than the first film, a stronger score, sharper dialogue and a more noticeable visual flair. [16 Nov 1990, p.28]

The Swan Princess may be derivative but it clicks, as ex-Disney animator Don Bluth's latest films ("Thumbelina," the video-bound "Troll in Central Park") have not. With just one movie in release, Rich is starting to look like the only other animation game in town. [18 Nov 1994, p.G33]

As an homage to Friedkin’s movie, Green’s take is respectful and genuinely scary. Let those tubular bells chime forth in celebration.

Molly’s Game could have been a terrific movie if Sorkin could have edited out 20-30 minutes; as it is, it’s a good movie overstuffed.

Life and death is one big joke in The Monkey, with the sense that Perkins is manically cackling along while he never skimps on the craft to make it all hit brutal pay dirt.

Its settings and cinematography are beautiful, filled with marble hallways and vivid red carpets that seem to be punctuating the scenery with a slash. . . And its performances are a pleasure, everywhere you look.

Driver’s performance as an uncertain man getting through the day-to-day prosaic, quietly buoyed by passion and artistic commitment, is exquisite.

Where is Kyra? is a small story — there’s much about its main character that we’ll never know — and a terribly sad one. But it’s a remarkable showcase for Pfeiffer, who’ll break your heart in every scene.

James Foley's screen adaptation of Jim Thompson's 1955 novel has its flaws - it's a little too mannered for its own good - but Patric is close to perfection. [24 Aug 1990, p.22]

Isabelle is complicated, in a way that movie women often aren’t; Binoche makes her an intriguing puzzle to solve.

Most of the movies from the British stop-motion wizards at Aardman Animations are pure delight, full of endlessly replayable moments and the kind of enchanting silliness that seems to transport you, however briefly, to a better world. Early Man, their latest effort, is merely good, which is to say that it’s well-crafted and enjoyable.

What distinguishes “Girl” from most zombie pictures is Nanua’s appealing performance and a chilling scene toward the end.

A coming-of-age tale like you’ve never seen, Julia Ducournau’s Raw left me intrigued, mildly nauseated and extremely curious about what passes for recreation at French veterinary schools.

For a brilliant approximation of the man himself, watch Downey in this film. This is a performance created out of equal parts talent, hard work and love. It's uncanny. [08 Jan 1993, p.3]

Alice, Darling is a bit of a slow burn, despite what its trailers would have you believe.

Cornel Wilde directed and stars in this nearly wordless 1966 story of a stripped white man hunted by African natives. It has several elements in common with Passion in the Desert. [09 Jul 1998, p.E3]

Ultimately Denial works, thanks to its strong cast — particularly Spall, who gives Irving a slightly mad gleefulness, and Weisz, whose smart, tough Deborah chafes against the quiet acquiescence expected of her.

Wilde is by no means the definitive film about Oscar Wilde. But it may just boast the definitive cinematic portrayal of the man. [19 Jun 1998]

The Boys in the Boat is ultimately a tribute to a time long gone, to the power of teamwork, and to the grace with which an oar dips into the water on a sun-dappled lake.

Serial Mom isn't much of an ensemble piece. More so even than Waters' Divine pictures, it's a star vehicle. The other actors rarely get a chance to do much more than register stupidity, yet it works out because Turner so craftily tunes into Waters' rarefied wavelength. [15 Apr 1994, p.D3]

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

Livington's film provides a lively look at an exotic subculture that mimics the values of the white majority with unique wit, irony, and style. [07 May 1991, p.2]

Director Park Hyun-gene skillfully engineers the inevitable triumph of the heart over every kind of human foible, and — why not? — a viewer is temporarily hooked.

For Here or to Go? offers an insightful group portrait but lacks imagination in a romantic subplot and (except for a requisite Bollywood-style dance number) is visually dreary.

A rare charmer from the DC Comics universe.