The results are nothing less than sensational.

Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]

Beautiful (sometimes sublimely so), daring (sometimes outrageously so), seriously crazed and terrifically funny.

Much of Summer Hours, which was shot by the excellent Eric Gautier, feels like a Chekhov play and resonates like a Schubert quartet; it’s a work of singular loveliness.

Paul Thomas Anderson's remarkable sixth feature addresses, by extension, the all-too-human process of eager seekers falling under the spell of charismatic authority figures, be they gurus, dictators or cult leaders. Or, in the case of this masterly production, a couple of spellbinding actors.

Sentimental Value is an affecting look into a fractured family. Art and domestic life intertwine with each other, inform each other and perhaps support each other more than is at first apparent, leading to an ending that provides a satisfying union of the two realms.

Whether the truth sets anyone free is unknowable at this point, but the city that was being slaughtered silently has been heard, and its suffering has been seen.

The explosively combative young hero, Liam (a brilliant performance by Martin Compston), has only the illusion of a fighting chance. Yet Sweet Sixteen is powerful because of the searing honesty with which it strips Liam of his illusions.

This brilliant satire, styled as a murder mystery, is the best insider's view of Hollywood since "Sunset Boulevard." [15 Dec 1992, p.A16(E)]

If the plot of Ponyo is small as a minnow, its themes--the relationship between parent and child, between the young and the elderly, between friends, between man and nature--are large and fully realized.

This tale of forbidden friendship between a bear and a mouse is so winning that audiences will cherish it as the classic it's sure to become.

Grapples with eternal questions of faith, to be sure, but confronts just as powerfully, if not more so, the urgent matter of how to live a good, useful life in the turbulent here and the terrifying now. First Reformed has its steeple in the clouds and its foundation on solid ground.

Sensationally entertaining.

There's no trace of calculation, only artistic ambitions and hopes that have come to fruition in the year's finest film thus far.

The film, newly streaming on Netflix, pulls together disparate strands of an untold saga into something thrillingly new.

What's so mesmerizing about this film is the sight, in an endless rush of color and images, of so much of his work in one place, including pieces we don't often see.

What Mr. Hou has done is borrow power and some gentle intimations of a state of grace from one of the most enchanting images in movie history.

You’d be unwise to look to the movies for economic insight—this one amounts to an extended fatuous argument that an individual who behaved like a corporate restructuring would be a psychopath. But among contemporary socio-economic parables, Mr. Park’s latest is an amusingly cutting one.

It’s thin and flat, the opposite of inventive, surprising, daring or insightful. Though it’s billed as a comedy-drama, nothing in it generates laughs, even of the cringe variety.

The Green Knight is many things—hypnotic, cryptic, dramatic, occasionally funny, certainly poetic and often magical in its way—but simple isn’t one of them.

Part 2 of The Deathly Hallows, is the best possible end for the series that began a decade ago.

A dazzling piece of filmmaking, and much of the dazzle - as well as the anguished darkness - comes from Adam Stone's cinematography, which expresses the swirling state of Curtis's mind with richly varied flavors of light.

His new film, in Persian with English subtitles, is of a piece with his best work — tightly focused, rather than broad-gauge brilliant, and another instance of this superb filmmaker turning elusive motivations and the mysteries of personality into gripping drama.

Astonishing visually and problematic dramatically.

As a witness to some small rectification and the still simmering problems that surround it, Dahomey is at once haunting and humble.

Get Out starts with a great title and a promising idea — a black man’s fear as he walks at night down a street in an affluent white suburb. Then it delivers on that promise with explosive brilliance.

This is hardly a film to recommend as entertainment. As an act of remembrance, though, it is singular and, in its way, soaring.

Mr. Spielberg’s film is a revelation. He has seized the moment by rethinking and reworking the source material. The results aren’t perfect. The production suffers from a heart condition of sorts, a flaw in the love story that’s flagrant but not life-threatening. Altogether, though, this pulsing, exultant musical connects a classic of American entertainment to a contemporary audience as never before.