The sequel both honors and reimagines the Spider-Man mythos for a new generation of movie fans with an artistic bent, a love for its characters and a willingness to break the rules to create something special.

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

Goldoni is spectacular here as a light-skinned black woman with a white admirer and an apartment full of her brother's hooligan buddies. And, oh, what shots of the era's New York movie marquees. [22 May 1998, p.6E]

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]

With its ceaseless music, large canvas, shrewd casting and flawless ensemble acting and the dexterity of its whiplashing mood switches, the movie recalls Robert Altman's "Nashville" more than any subsequent movie has.

This gem features five topnotch, multidimensional performances in one of this summer's most engaging films.

The best news the G rating has had since the ratings system was instituted in 1968.

Fury, I Am a Fugitive, Wild Boys of the Road and Emperor of the North come immediately to mind as definitive Depression movies. This little gem, which may get overlooked, deserves to be on the same list. [20 August 1993, p.5D]

Sissy Spacek goes vengefully telekinetic in one of director Brian De Palma's best movies, and her scenes with mom Piper Laurie (both actresses were Oscar-nominated) release a lot of energy themselves. [29 Jun 2004]

Bedroom succeeds with performances that get some of their power from imaginative casting.

It’s an essential watch for every music fan, even if you’re not an Elvis junkie.

Not since Tuesday Weld in "Pretty Poison" has an actress so played off her fresh-faced beauty for such pointed black-comic effect.

Small-town setting, big-time charm. Paul Newman is no fool for taking this perfect-fit role as a hard-luck construction worker who reunites with his son. [03 Feb 1995, p.4D]

One bad idea can unravel and ruin lives in unimaginably horrific ways.That's the concept underlying the riveting Before the Devil Knows You're Dead, a sharply acted and highly entertaining morality play.

Like “Donnie Darko” or David Lynch’s entire oeuvre, “Glow”... blends the real and the surreal in a neon-drenched nightmare that leaves a trail of thematic breadcrumbs for its audience.

Deliver Us From Evil is so horrifying it makes "Texas Chainsaw Massacre" look like a walk in the park.

Crowe has invented a fresh character in Lloyd Dobler, and Cusack has invested him with an ingratiating persona that helps avert disaster when things become a bit melodramatic in the final resolution. [14 April 1989]

This Preston Sturges classic cast Hutton as a small-town girl who gets pregnant by a soldier whose name she can't remember. No film better channels her comic energy or makes better use of her obvious yearning for acceptance. [19 Jun 2000]

Still mesmerizes on the strength of George C. Scott's chew-your-behind performance. [5 Nov. 1999, p.6E]

A superbly crafted and darkly funny real-life political thriller, with pitch-perfect performances.

More than anything, The Grifters isn't dramatically shot; black-and-white would have made a huge difference. [5 Dec 1990]

The story itself is surprisingly seamless, yet it's the individual components that linger.

It is at once warmly humanistic and boldly innovative, raising philosophical questions but not answering them.

Each character is decent and likable, as well as complex. The four main portrayals are outstanding -- so natural and believable that you are drawn into their story immediately.

Anderson has taken pains to re-create the '50s with superb production design and gorgeous cinematography. But he seems less concerned with whether the audience is along for the ride. The story can leave viewers at sea, floundering to give meaning to what they are watching.

A weeper poised to endure as one of the dominant independent features of the year.

Joins company with "Sullivan's Travels" and "Sunset Boulevard" as the quintessential Hollywood peek-a-boos...[and] Tim Robbins' modulated performance rates rhapsodic praise. [10 Apr 1992]

Miyazaki creates fascinating, fluid and whimsical scenarios.