By turns repellent, powerful and ludicrous, Antichrist piles horror on horror with pitiless passion.

Like Kong himself, it's imposing, sometimes endearing, and very rough around the edges.

And The Donut King is about the doughnuts themselves — how they’ve evolved over the decades from a sturdy staple into a fantasy, if not quite a delicacy, of prismatic colors and preposterous toppings.

As constructed, Citizen K serves as a briskly paced primer into all things Putin, Russian and, incidentally, Khodorkovskian.

Mad Dog and Glory also seems like two movies at once, only in this case the split comes off like a case of Siamese twins. Actually, it's girls on one side and boys on the other, and the boys get all the breaks. [4 Mar 1993, p.A12]

George Clooney's film noir sensibility in the title role feels authentic, and admirably solid.

The film itself is fairly slight: I'm not sure what it adds up to. Still, I enjoyed every moment of its beguiling saga of a depressed teen named Craig.

Cinema Sabaya, a quietly affecting little film about unexpected connections and unseen sorrows, shimmers with a bright optimism about how people might overlook one another’s differences if only they took a little time to learn about each other.

Mr. Henry’s performance, by turns firm and funny, is the highlight of the movie.

Bright, buoyant and hilarious, though far from flawless, this romantic comedy, directed by Jon M. Chu and based on the popular novel by Kevin Kwan, is also a cultural milestone.

It’s also a film made by her grieving husband. On paper, it shouldn’t work at all. It works measurably better on screen.

Is this movie better seen in a theater than at home on Netflix? Yes, no and what can one say? Watch it anyway.

Musically, the film is best viewed and heard as an artifact.

The pacing is good, the atmosphere authentic, and even the paperwork — which is where the real revolutions in law occur — has a certain kinetic quality to it. And while viewers might think they know where the film is going, and what the payoff is going to be, they’ll still be caught off guard emotionally.

A movie you can't readily get out of your head.

Mr. Murphy rises to every occasion, not only with the crisp wit that has long been his hallmark, but with restraint and tenderness that serve him well.

I felt much the same way as I sat goggle-eyed through this endless extravaganza of visual abracadabra. It seemed entirely possible that I might die of the fidgets or old age while waiting for Baron Munchausen to kill the Turks. And yet I found myself wanting to see the end of the movie before I expired. [9 Mar 1989, p.1]

Youth in Revolt is basically an absurdist ramble, but a terrifically likable ramble.

The narrative, framed as a psychological mystery, labors under more layers of significance than it can handle without falling into contrivance and argumentation. Still, the dramatic core is strong, an exceptional young man struggling to find, and become, whoever he really is.

A likable lightweight, though it's heavy enough on cosmic combat and dazzling effects.

Mr. Washington is splendid, as always. So is Forest Whitaker as James Farmer, Sr.

The movie is maddening too, just as it intends to be, but you do watch, and care, and learn. What seems at first to be a gallery of narcissistic rogues turns into something else, a study in equal-opportunity romantic folly.

For almost two hours of car chases and car wrecks and extraordinary animated transformation sequences that meld fluidly with live action, the welcome mat is out for Michael Bay's cheerfully dopey saga.

Border may not be everyone’s idea of a fun night out, but it takes you to places you won’t forget, and that’s nothing to sniff at.

What the movie lacks in coherence it makes up for in zest, well-founded self-delight and a sharpshooter's eye for the absurdities of reality TV.

The film fulfills its feel-good promise, as long as it's seen as the fairy tale it was meant to be.

“Disaster Is My Muse” differs from other “American Masters” programs by having a subject who is alive, well, loves his wife, Françoise (who appears frequently and to great effect), and about whom there is a more than generous amount of documentation (as in drawings) and footage.

Full of life -- which is a very good thing to say about a story that turns on death -- wonderfully odd, and a gallery of perfect performances.