T-Rex is ultimately about a remarkable (and likable) young person finding her personal power despite pressure from all sides.

A unique and satisfying new documentary.

At more than two hours, it’s simply too long. However, thanks to Collette’s work, “Hereditary” is a horror movie that really sinks its claws into you.

The laughs are sometimes bigger than expected, and so are the emotions stirred by the bittersweet finale.

Unlike the cheapie late-1970s Mexican exploitation movie Survive!, this sobering account of a 1972 Andes plane crash has a spiritual quality that makes the tougher aspects of the story easier to handle. [15 Jan 1993, p.16]

Get Out will scare you, make you laugh and perhaps make you uncomfortable. It’s supposed to.

A traditional documentary with solemn voice-over, career timeline and critical assessments this is not. But while a few more facts along those lines would have been welcome...this visual love letter nevertheless conveys Kirk’s spirit and music well.

Yorgos Lanthimos’ particular brand of dark comedy can be an acquired taste, and his latest, the gritty conspiracy thriller Bugonia, pushes that taste to the limit.

In channeling his creative resources toward the sound of “Undertone,” Tuason conjures a lot out of a simple concept — a girl in a house. The marriage of this sound design to thoughtful, carefully placed camera movements makes for a horror film that’s a suspenseful slow burn.

In more careless hands, Middle Man’s deranged farce could have resulted in an unchecked, undisciplined movie with nothing to say. But beneath the roller-coaster madness here is an earthbound terror that art is meant to reveal.

Ultimately, Moving On is about friendship, and who better than Grace and Frankie to show us that?

The Man in the Moon isn't likely to replace Mockingbird in the eyes of any of its fans, but it's far superior to such recent Mulligan mistakes as Clara's Heart and Kiss Me Goodbye. It's the most careful, sensitive work he's done since the 1970s. [04 Oct 1991, p.23]

Cruise valiantly throws everything he’s got into the movie — including a lot of his trademark Very Intense Running — and the result mostly works, but it feels like a franchise that’s winding down. Here’s hoping a few thrills have been saved for “Part Two.”

Raoul Walsh's lengthy, relatively gritty 1945 war movie stars Errol Flynn as the leader of a paratrooper group that goes after a key Japanese target. [02 Sep 1999]

Harrison is more interested in teasing than frightening an audience to death, but he still manages to deliver several strong jolts. So does the cast of first-rate actors, who obviously had a marvelous time turning themselves into goons, cannibals, gargoyles and ghouls. [04 May 1990, p.28]

The role is built for a tour-de-force performance, and Curtis delivers. [17 Sep 2000]

The performances are first rate, particularly Rains’ work in the lead role.

Director Hill usually makes rough 'n' ready films about men in action ("48 HRS," "Extreme Prejudice"). His change-of-pace 1993 Western, "Geronimo: An American Legend," caught many off guard. "Wild Bill" continues to exhibit this maturing filmmaker while retaining the boisterous tone of Hill's earlier films.

Based on the true story of Raymond Fernandez and Martha Beck, two late-1940s serial killers who conned and murdered several widows who took out lonely-hearts ads, writer-director Leonard Kastle's only feature film to date is one of the least glamorous couple-on-the-run movies ever made. [05 Dec 1992, p.C5]

A tidy if bloodstained little thriller with a clever idea at its core.

It not only feels like a transposed stage piece, it plays like a workshop performance that may not have found its final form. But the actors keep it lively and darkly funny, and the picture rarely feels stagey. [07 Oct 1994, p.D31]

It’s chilly in Oslo, and in this movie; the better to sneak up on you quietly, like an unexpected shiver.

The pieces still come together to reveal a thorny portrait of how little a push it takes to create a villain.

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]

Alda brings admirable dimension to his small role, and once again Huston proves that she could read one word of dialogue and assume full command of the screen. [20 Aug 1993, p.D14]

Reynolds is playing what amounts to the straight man to Jackson’s bad boy, and the back-and-forth between the two, with his character stewing and steaming in exasperation at the killer’s taunts, gives The Hitman’s Bodyguard its special fizz.

If there is any problem with Wes Craven's New Nightmare, it's the fact that analyzing the film is potentially more fun than the film itself. But that's OK, because it means Craven has put enough thought into his work to make it worth thinking about. [14 Oct 1994, p.H40]

Most of all, you see Roberts, who takes hold of this movie like a lamppost in the winter darkness. That huge Julia Roberts smile turns up here, but it’s haunting.