A singular accomplishment so specifically keyed to Spacey's talents that it mandates going out on a limb to say it contains the performance that will ultimately be regarded as "the one."

What remains is a great Vangelis score, astonishing production design, Hauer's career role -- and a movie that deserves its cult reputation despite an unloving heart. [11 Sept 1992]

Land has a lot of funny moments, which are no less serious for being so, especially when the script turns politically prickly.

Glossy or not, the movie is unflinchingly tough-minded, down to its Hollywood-weepy ending, which, if you think about it, may be the year's gloomiest.

A masterpiece. (9 Jan 1998, p.3D)

An intimate portrait of the Bringing It All Back Home Bob Dylan during his final acoustic tour through England, it hits with escalating emotional force as the decades go by, capturing a fleeting musical period as brilliantly as any movie ever has. [07 Jan 2000]

The animation is also top-notch: Bo has a bunch of dazzling scenes as a porcelain warrior, and human characters look better than ever. With the emphasis on Woody’s tale, Buzz and the other returning toys spend much of the movie as side characters, but it turns into a true romp when everyone's plots coincide.

An artful examination of a small town and small-mindedness and the potential for full-blown, large-scale evil. But it's strangely bloodless.

With a musical that doesn’t shy away from tackling issues of racism and immigration, viewers will find themselves immersed in a song-filled, universally relatable story about chasing dreams and building community.

It winds up working as a ominous climax, however, and you’re left wanting to avoid any and all farm animals for a while — which for this excellent piece of filmmaking is high praise.

When so much of what Hollywood churns out is almost instantly forgettable, it says a lot about a film when viewers want to take time to argue, ponder and puzzle over it.

It is definitely the summer for talking animals taking over the cinema, but Kubo manages to rise above the rest of its peers with a wondrous coming-of-age tale full of ancient soul.

But the film's emotional core is father-son reconciliation, and Pete Postlethwaite is very sympathetic as Dad. [29 Dec 1993 Pg. 01.D]

While at times bleak, A Ghost Story isn't devoid of hope. More essentially, the best film so far this year is a thought-provoking, singularly special masterpiece about love, mortality and how our heart keeps beating even after it stops.

With this, possibly his most subdued film, Almodo´var reinforces his status as one of the most distinctive and talented filmmakers working today.

It’s easy to fall for these “Widows” when themes of class, religion, grief, gender, injustice and race are married to terrific action sequences and a gang of looting ladies stealing the show.

This tough and unsparing film feels authentic; the cops are ever-railing against the FBI, and have sickly skin tones that probably result from too many bad burgers on the run. Homicide is provocative and, in its first hour, even hilarious. Its prestigious closing slot at the just-completed New York Film Festival was deserved. [10 Oct 1991, p.4D]

Thompson has had the good sense and sensitivity to get Austen right, while letting Winslet steal the show.

It's a precarious balance, but Payne blends wit and poignancy so artfully it feels like an exquisitely choreographed dance.

In his previous works, Chazelle mined the flawed soul of artists in tales that were notably personal, while First Man is a story of an introvert that too often feels distant.

A rare hybrid that perfectly blends the dazzle of a futuristic action thriller with the intellectual substance of an art film.

It is that rare film that is equal parts entertaining, life-affirming and thought-provoking.

A riotous and wee bit PG-racy computer-animated family fable, is the most thoroughly enjoyable cartoon feature since "Toy Story" burst out of its box.

Besides being filled with Chappelle's hilarious sense of humor, the movie features life-affirming messages and great music by serious rap artists with political, socio-cultural and spiritual themes.

This is intelligent grown-up entertainment on both a political and a humanistic level.

One of the greatest mixes ever of gritty war drama and roll-on-the-floor hilarity. [29 Mar 2002, p.2A]

River ranks with the best movies Eastwood has directed: "The Outlaw Josey Wales," "Unforgiven" and "The Bridges of Madison County." But this time, the work is strong without his own on-screen presence -- a significant achievement.

Director James Foley deftly juggles expressionistic actor closeups with drab widescreen shots that convey abject seediness. [30 Sep 1992, p.1D]