See the movie. It’s a treat. And educational, too.

A haunting and lovely documentary.

It’s a sweet-natured, gentle film that might remind more than a few watchers of a special date in their own life, long ago.

So much of Sicario, Denis Villeneuve’s disturbing drama set in the world of law enforcement and Mexican drug cartels (the title is the Mexican term for a hit man), takes place on Emily Blunt’s face.

Thank You for Your Service is a harrowing, honest and beautifully acted film about lives blown to bits and then put back together; not entirely, not immediately, but piece by tiny piece.

Andrew Bergman's The Freshman is a charmed comedy, the kind of seemingly effortless movie in which everything falls neatly into place, as if ordained by nature.

Talk To Me isn’t just a splashy debut for the Philippou brothers, who prove their filmmaking chops in making the leap from the small screen to the big. It’s also an incredible introduction to a remarkable actress in a role that will undoubtedly prove to be an instant classic horror movie heroine.

Eat Drink Man Woman is so cleverly plotted, edited, scored, performed and photographed that the audience is frequently just as surprised as the characters, yet Lee and his co-writers plant just enough clues to keep you from feeling tricked. [05 Aug 1994, p.E22]

Egerton is commanding throughout. His performance is truly a marvel. Rocketman as well.

Prisoners is a dark, deeply serious examination of how loss can unhinge us; it grabs onto you, and you may have trouble shaking it away.

This film is both a loving homage to Austen and a celebration of fashion and decorative arts.

There’s magic amid the chaos of Oasis: Supersonic, the exceptional new documentary that charts the rapid ascent of British band Oasis.

There is a touching universality to these life stories, which at this point have a lulling near-sameness: grown children, long careers, lasting passions and friendships (Paul’s and Symon’s is particularly touching), a looming shadow of illness, the nearness of twilight.

The effects work rivals the likes of “Saving Private Ryan” and, well, “Independence Day.” It’s spectacular and realistic-looking. That’s to be expected. What’s not expected is how serious-minded and well-acted the picture is.

Strong performances by Samson Coulter, Ben Spence and Elizabeth Debicki anchor a delicate coming-of-age story that explores masculinity and fear, and, like surfing, is equally about what’s beneath as on the surface

Elegantly photographed by the legendary Henri Decae, who emphasizes smoky blue and darkest blacks, "Le Samourai" has film-noir style to burn. [25 Apr 1997]

Ira Sachs’ lovely, heartfelt drama "Love Is Strange" had at its center a New York City real-estate problem — as does his new film, the equally splendid Little Men.

One scene cuts right to the next, eschewing a typical progression of shots or exposition to instead just let us observe the little details. It creates an arresting experience that feels as if we are merely witnessing memories fading into each other as Sandra tries to find solace amid her growing sadness.

So much of the pleasure of Denis Villeneuve’s poignant science-fiction drama Arrival lies in watching Amy Adams figure things out.

BlacKkKlansman manages that tricky balance of being both entertaining (some of the performances are quite comedic, particularly Paul Walker Hauser as a mouth-breathing Klansman) and devastating.

Condon doesn’t shy away from the violence and tragedy at the heart of this story, but he lets us see the tender, hard-forged connection between Molina and Valentín, and also lets us disappear into a world of tinselly Hollywood beauty, just as they do.

The movie is a model of clear, precise storytelling, of state-of-the-art technique used to advance a story rather than show off.

In the film, we’re able to see Ailey during the Kennedy Center honors, watching intently as “Revelations” is performed; he looks like he’s carefully checking it, making sure it’s perfect, wondering if it could be better — the artist watching the art. You leave Ailey hoping that, somewhere, he’s watching still.

This is the swiftest, funniest, most lunatic comedy to date from the team that created "Top Secret," "The Naked Gun," "Ruthless People" and "Airplane!" [28 June 1991, p.23]

Schultz has a lovely way of telling a just-on-the-verge-of-melodramatic story on a very human level.

These characters don’t seem like types chosen from a screenwriting manual but like people we might know, with quirks and feelings and flaws and hearts.

It’s a movie that, by its serene final scene, changes its viewer. You leave happier, honored to have been, for two hours, part of this family.

Archangel, defying every contemporary cinema convention as it does, won't be to everyone's taste. But for those interested in the wilder possibilities of what film can do, it's an absolute must