Stripped of all bravado, Cruise delivers a raw and probably detractor-proof performance. Spielberg does what he did right in creating a novel milieu for "A.I. Artificial Intelligence," but this time the writing is fresher and anything but unwieldy.

This Pride & Prejudice is a stellar adaptation, bewitching the viewer completely and incandescently with an exquisite blend of emotion and wit.

A great movie just got greater, thanks to this thorough restoration. [Director's Cut; 27 June 1997, p.D3]

Who would have thought that one of the most provocative and affecting films made about the fallout from 21st century divorce would have emanated from a 19th century novel?

A highlight reel for everyone involved: career-defining work from Scarlett Johansson and Adam Driver, astounding supporting turns courtesy of Laura Dern and Alan Alda, and a masterclass from Baumbach.

The exhilarating, inventive and suspenseful story hinges on a pair of commanding performances.

Another great 1950s John Wayne Western from Warner Bros. [25 May 2007, p.4E]

The most powerful of all recent wayward-youth sagas; indeed, it's tough to recall the last such drama that packed as much emotional clout.

Sophisticated and universal yet deeply intimate, A Separation is an exquisitely conceived family drama that has the coiled power of a top-notch thriller.

An outstanding lead performance by Mads Mikkelsen (who won best actor for the role at Cannes in 2012) anchors this hauntingly layered and nuanced drama of a man falsely accused of a terrible deed.

Express is 80 tight minutes of railroad intrigue, an Oscar winner for cinematography (there's none better) and the film with the enduring line: "It took more than one man to change my name to Shanghai Lily." [22 Oct 1993, p.3D]

Fearless mix of classical music and animation, the one movie to satisfy that oft-misused adjective ''unique.'' [01 Nov 1991, p.3D]

Humor, poignancy and social criticism converge for an even better movie than the recent one it brings to mind: Gosford Park. [23 Jan 2004]

A fabulously enjoyable documentary from Martin Scorsese that may introduce a new generation to this incredibly sharp, often stinging, but famously unproductive writer. [22 Nov 2010, p.12B]

Cinematic poetry in black and white. It also is a deeply affecting tale of the power of resilience and an unflagging sense of humor through the worst of situations

A rich gem expertly told in a surprisingly scant 95 minutes.

Black Hawk turns nightmare into great cinema.

As good as "Unforgiven." Or, to put it another way, as good as any movie Eastwood has ever directed.

An instant classic, an Oscar-worthy showcase for Jeremy Irons, and a tightrope ballet over dicey screen material… A subtle movie - and thus a disturbing one. Like “Vertigo,” “The Night of the Hunter,” “Repulsion” and a few others, it finds beauty in morbidity - then nags you to come back for a second dose. [23 Sept 1988]

The best action thriller of the year.

Michelle Pfeiffer would easily steal The Fabulous Baker Boys were it not for a hefty payoff on the long overdue teaming of Jeff and Beau Bridges. Then again, the fabulous Bridges boys would steal the picture if not for Pfeiffer. Filmmaker Steve Kloves, who has all but come out of nowhere, must be living right. [13 Oct 1989, p.4D]

Can be taken on many levels, and that's why it works so completely.

A monumentally moving experience, from the powerful acting by Javier Bardem to the evocative music, composed by the director, Alejandro Amenábar.

One of the year's best movies and certainly its most delightful screen surprise.

Let's say it without equivocation: Colin Firth deserves an Oscar for his lead role in The King's Speech as the stammering King George VI.

Edited with whiplash intensity into 92 of the movie year's tightest minutes, Room is arguably the breeziest political documentary ever. [3 Nov 1993, p.7D]

Though his film is like no other baseball movie, it may remind you of Paul Newman's hockey comedy Slap Shot: a knowing look at sport's underbelly - punctuated by jelly-belly laughs. [15 June 1988]

Though the movie may not change many minds about McNamara, it richly humanizes him, a valuable feat atop all the fascinating reflection.