Mr. Von Einsiedel is convinced that his subjects are “true heroes.” Viewers will be convinced of the same.

An elegant horror film, starring Johnny Depp and Helena Bonham Carter, that takes pleasure in its own theatricality, gives pleasure with caustic wit, trusts the power of Stephen Sondheim's score and exults in flights of fancy that only a movie can provide.

It's exciting, stirring, often funny, sometimes lyrical and unusually thoughtful. And, with that one egregious exception, genuinely pleasurable.

A lovely surprise. Ripe with feeling and lush with physical beauty, it's a love story that swings confidently between age and youth, and, like the young Tiger Woods of old, avoids every trap along the way.

It’s a graceful, unassuming portrait of relationships old and new as a handful of characters consider their pasts and look wonderingly toward their futures, soju flowing freely all the while.

Few caper comedies have this much heart, and few romantic dramas offer such an appealingly nutty plot.

The good news about Claude Lelouch's And Now Ladies and Gentlemen -- there's no bad news -- is that the man who made the sublimely superficial "A Man and a Woman" almost four decades ago has grown in wisdom and artistry, but hasn't lost his love of glossy surfaces.

A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]

The movie has a beating heart, and a big one; it’s not just sincere, but that rarest of birds in the jungle of mainstream entertainment, a heartfelt epic.

There are mysteries here, not the least of them being how such a modest little movie can evoke such profound feelings.

What makes Rocketman a gift of entertainment that keeps on giving is the brilliance of the musical numbers coupled with the complexity of the star’s portrayal.

A remarkable though sometimes frustrating film.

Crazy Heart is blessed with so many marvelous moments, lovely lines and vivid characters.

Hugely inventive -- and smashingly beautiful.

Not since "Raging Bull" has Mr. Scorsese so brazenly married brutality to beauty. Not since "Kundun" has one of his films felt so aspirational.

Apart from a singer named You who plays Keiko, the members of the cast are non-professionals. You may find that hard to believe when you see this astonishing film, as I hope you will.

The attitude of Mr. Navalny and his colleagues is fearless, in a country governed by fear. Thrillers are rarely so inspiring.

A handsome, absorbing debut feature by the fiction and television writer Henry Bromell.

(Morton's) character here is emotionally mute -- though Morvern speaks, she can't or won't reveal what's in her heart -- and her performance is brilliant from start to finish.

What makes The Flat mesmerizing is its wealth of historical detail. What makes it universal is what it says about families everywhere - that children, being children, don't want to know what their parents are up to, and that grown-ups, being human, don't want to credit troubling facts that conflict with what they need to believe.

The silents, as this film suggests, achieved aesthetic marvels before sound came along to set things back for a while.

What's most memorable, most striking about Superbad is the canny evocation of male friendship in all its richness and complexity.

Ms. Berg's film, which she wrote with Billy McMillin, tells the story with unprecedented clarity. She has a dramatist's eye for what was irretrievably lost-the innocent lives of the children, plus 18 years of three other innocent lives.

A film that asks its audience to invest serious thought, and in return, bestows serious pleasure.

This is a woman's work in the best sense -- empathetic, inferentially erotic and delicately intuitive, as well as fiercely intelligent.

It is marvelously funny - a screwball comedy with more layers than a pearl - and visually sumptuous.

A dazzlingly smart and entertaining animated feature by Marjane Satrapi and Vincent Paronnaud, looks like a black-and-white graphic novel come to life.