Los Angeles Times' Scores

For 6,444 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score:
Critic Score 100
Lowest review score:
Critic Score 0
Score distribution:
6,444 movie reviews
  1. This is a performance, and a film, to cherish for this year and always.
  2. There's barely any on-field footage in The Damned United. What we get instead is fine acting and directing, splendid dialogue and a story too outrageous to be made up.
  3. There are so many wonderfully unconventional things to like about this tiny independent film, Monaghan's earthy and uncompromising performance chief among them, its depth surprising you at every turn.
  4. It's hard to believe, but Hal Holbrook, one of the stage and screen's enduring talents, has never had the solo lead in a feature film. That has been duly rectified with the actor's achingly memorable star performance in the superb That Evening Sun.
  5. The powerfully disturbing Red Riding trilogy will haunt you waking and sleeping, night and day. If you survive the watching of it, that is, which is no easy thing.
  6. The Ghost Writer is the kind of impeccable adult entertainment, able to alternate edge-of-your-seat episodes with bleakly comic moments, that Hitchcock used to specialize in and that Polanski himself realized so successfully in "Chinatown" and "Rosemary's Baby."
  7. To borrow a marketing phrase from another, very different film, A Prophet really is the movie that reminds you why you love the movies. Especially movies like this one.
  8. Subversive, provocative and unexpected, Exit Through the Gift Shop delights in taking you by surprise, starting quietly but ending up in a hall of mirrors as unsettling as anything Lewis Carroll's Alice ever experienced.
  9. A tremendously exciting science-fiction thriller that's as disturbing as it sounds. This is a popular entertainment with a knockout punch so intense and unnerving it'll have you worrying if it's safe to close your eyes at night.
  10. People fall in love in every country, but nowhere is the experience put on film with the flawless style, empathy and emotion the French provide. Mademoiselle Chambon is the latest in that line of deeply moving romances, an exquisite chamber piece made with the kind of sensitivity and nuance that's become almost a lost art.
  11. Witty, urbane and thoroughly entertaining.
  12. Faultlessly acted by top Australian talent, including Guy Pearce, Ben Mendelsohn and Jacki Weaver, Animal Kingdom marries heightened emotionality with cool contemporary style.
  13. Lebanon is not just the name of an excellent new Israeli film, it signifies a continuing national obsession that shows no signs of going away.
  14. Smartly written by Aaron Sorkin, directed to within an inch of its life by David Fincher and anchored by a perfectly pitched performance by Jesse Eisenberg, The Social Network is a barn-burner of a tale that unfolds at a splendid clip.
  15. Hypnotic and sprawling five-hour-plus piece of cinematic genius.
  16. A thrilling adventure of the spirit. Austere yet provocative, this is not only a film about faith, it also has faith that the power generated by complex moral decisions can be as unstoppable as any runaway locomotive.
  17. Verbinski's greatest triumph is that he allowed the animation to free rather that confine him. There is indeed a new sheriff in town, with Rango destined to become a classic.
  18. In only his second feature, Frammartino has found a fresh and ravishingly poetic and beautiful way to explore the relationship between the spirit, man and nature.
  19. Epic and intimate, historical and contemporary, moving and thought-provoking, the impressive The Princess of Montpensier has something for all and sundry but especially for those who like to believe that films can be as boldly intelligent as they are entertaining.
  20. It's a privilege and a pleasure to be present in a sacred space where the human and the mystical effortlessly intertwine, and we are in Werner Herzog's debt for that great gift.
  21. Few filmmakers juxtapose cruelty and beauty as audaciously as Japan's Takashi Miike. A master director with great style and panache, Miike's latest, 13 Assassins, is a classic samurai movie, right up there among the finest in the genre.
  22. Daring in the ways only quiet, unhurried but finally haunting films have the courage to be. A character study of remarkable subtlety joined to a carefully worked-out plot that fearlessly explores big issues like beauty, truth and mortality, it marks the further emergence of Korean writer-director Lee Chang-dong.
  23. In its masterful use of evocative imagery and music, Road to Nowhere is flawless.
  24. Rejoice provides both a melodic education and a once-in-a-lifetime concert in one soul-stirring package.
  25. An extraordinarily moving examination of how the AIDS epidemic both devastated and transformed San Francisco's gay community, this clear-eyed and soulful documentary brings us inside the contagion in a way that is so intimate, so personal, you feel like you're hearing about these catastrophic events for the first time.
  26. Silent Souls is a marvel. Fedorchenko's expressive powers and his visual prowess are astonishing, and though the film's conclusion is abrupt and confounding, it feels right.
  27. Anubhav Sinha's exhilarating fantasy Ra.One is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.
  28. Firmly rooted in the filmmaker's esoteric, frustrating, provoking, demanding narrative style, the movie is also amazingly romantic - lush, ripe, rich, delicious.
  29. Harrowing and unflinching, a savage nightmare so consuming and claustrophobic you will want to leave but fear to go, City of Life and Death is a cinematic experience unlike any you've had before. It's a film strong enough to change your life, if you can bear to watch it at all.
  30. It's a domestic horror story that literally gets to us where we live, a disturbing tale told with uncompromising emotionality and great skill by filmmaker Lynne Ramsay.
  31. A Separation is totally foreign and achingly familiar. It's a thrilling domestic drama that offers acute insights into human motivations and behavior as well as a compelling look at what goes on behind a particular curtain that almost never gets raised.
  32. Set in an enchanting locale where the potential for magic is everywhere, this impeccable animated film puts its complete trust in the spirit of make-believe.
  33. Exceptionally well-made and completely fearless in its depiction of the widest range of romantic emotions, this is a film as fiercely committed to passion as its heroine, and that's saying a lot.
    • Metascore: 87
    • Critic Score 100
    The script, by Oleg Negin and Zvyagintsev, uses spare dialogue to quietly devastating effect. Performances are superb across the board, framed in elegant widescreen compositions that simmer with violence.
  34. Oslo is an example of strong, confident filmmaking in which nothing is miscalculated or out of place. Anchored by a devastating performance by Anders Danielsen Lie, this portrait of existential despair is beautifully made without being self-conscious about its art.
  35. Director Benh Zeitlin and his co-writer Lucy Alibar, a playwright whose "Juicy and Delicious" was the inspiration, have created characters that are wondrously indelible, distinctive of voice and set them inside a story that will unleash a devastating hurricane, and a flood of emotions, before it is done.
  36. Potent, persuasive and hypnotic, The Dark Knight Rises has us at its mercy. A disturbing experience we live through as much as a film we watch, this dazzling conclusion to director Christopher Nolan's Batman trilogy is more than an exceptional superhero movie, it is masterful filmmaking by any standard.
  37. The Master takes some getting used to. This is a superbly crafted film that's at times intentionally opaque, as if its creator didn't want us to see all the way into its heart of darkness.
  38. Silver Linings Playbook is rich in life's complications. It will make you laugh, but don't expect it to fit in any snug genre pigeonhole. Dramatic, emotional, even heartbreaking, as well as wickedly funny, it has the gift of going its own way, a complete success from a singular talent.
  39. There are always moral crosscurrents in Lee's most provocative work, but so magical and mystical is this parable, it's as if the filmmaker has found the philosopher's stone.
  40. A documentary potent enough to alter how you see the world.
  41. Romantic but pitiless, fearlessly emotional as well as edgy, Rust and Bone is a powerhouse.
  42. Directed by Ra'anan Alexandrowicz and winner of the World Cinema Grand Jury Prize at Sundance, this is the second superb Israeli documentary (after "The Gatekeepers") to come to town in less than a month and deal fearlessly with an aspect of that country's legal and political system.
  43. A perfect storm of a motion picture, with an icy, immaculate director unexpectedly taking on deeply emotional subject matter.
  44. One reason Boal makes such a potent combination with Bigelow is that her directing style moves us right along. She is so good with both action and creating a convincing look and feel for the film that the time it takes to get up to speed with the complicated plot does not feel like a problem.
  45. It's one terrific film, as smart, thoughtful and emotionally involving as just about anything that's out there.
  46. In "Django," Tarantino is a man unchained, creating his most articulate, intriguing, provoking, appalling, hilarious, exhilarating, scathing and downright entertaining film yet.
  47. Unquestionalby it's an instant classic, probably the grisliest well-made movie ever. [26 May 1983]
  48. The Silence is an exemplary German-language thriller, a complex and disturbing examination of guilt, violence and psychological torment that chills us to the core not once but two times over.
  49. From Up on Poppy Hill is frankly stunning, as beautiful a hand-drawn animated feature as you are likely to see. It's a time-machine dream of a not-so-distant past, a sweet and honestly sentimental story that also represents a collaboration between the greatest of Japanese animators and his up-and-coming son.
  50. [Filho's] mastery of pacing, theme and stylistic eccentricity throughout Neighboring Sounds is so assured as to be breathtaking. Don't miss it.
  51. Part science fiction scare movie, part offbeat romance, part completely unclassifiable, "Color" is also one-man filmmaking of a remarkable sort.
  52. Beyond the timelessness of the story itself, the film is beautifully shot and though early in Godard’s career already showcased his ability to capture emotional intensity in the very way he frames the shots.
  53. Mud
    One of the most creatively rich and emotionally rewarding movies to come along this year.
  54. An invigorating powerhouse of a personal documentary, adventurous and absolutely fascinating.
  55. Effortless and effervescent, Frances Ha is a small miracle of a movie, honest and funny with an aim that's true.
  56. A film of warmth, insight, humor and surprising originality… [It] isn't perfect, but when it's good, which is every moment John Cusack is on screen, it's a living joy. And when it's not-so-good--earthbound and not inventive enough--it s till almost single-handedly redeems the breed. [14 April 1989]
  57. Moves way past the predictable into the shocking. Indeed, the film is so expertly structured and paced that its denouement knocks you off your feet.
  58. Offers a riveting depiction of the classic collision of fate and character, with geography in this instance playing a crucial role.
  59. There is a wonderful natural quality to Jeong's storytelling that is enhanced by cinematographer Young-hwan Choi's graceful camerawork and by a dynamic, contemporary score from M&F.
  60. Amazing, rich in authentic period atmosphere and detail, an ever-changing cyclorama of a movie.
  61. This modest film has virtues that come out of nowhere. It takes familiar material and develops it with such tact and skill that we find ourselves moved and sort of amazed at the same time.
  62. Disco's exceptional acting ensemble is especially successful at capturing the brittle rituals of this specific group of genteel, well-spoken young people on the cusp of adulthood.
  63. A drama of extraordinary power and insight with dazzling performances from not only Spacey but also Danny DeVito (who may well be at his best ever) and from newcomer Peter Facinelli.
  64. A compelling entertainment because of Hill and co-writer David Giler's adroit cinematic storytelling skills and the powerful presence of Wesley Snipes and Ving Rhames, whose talent and intelligence are as impressive as their physiques.
  65. Eerie, quietly compelling... a fresh and mesmerizing experience...such an unsettling experience you find yourself still taking it all in well after the lights have gone up.
  66. A triumph for all concerned, it is especially so for the multitalented Chereau.
  67. Cho's weapons are a wildly imaginative sense of humor and the courage to be absolutely uninhibited.
  68. Arlington Road belongs to that splendid Hollywood tradition of dealing with serious, timely issues in the form of a suspense thriller.
  69. Irresistible, hugely satisfying feminist fairy tale.
  70. For an American film it is a groundbreaker in exploring the realm of sexual fluidity, and it does so with wit, wisdom and in a completely entertaining fashion.
  71. It is such a grand, romantic entertainment that it sweeps the viewer along in its swiftly escalating suspense.
  72. Lives up to its ambitiousness in all its aspects.
  73. Hank is but the latest of Thornton's strikingly taciturn characters in a whole string of movies, but for Berry, Leticia represents a big-screen breakthrough.
  74. If ever there was a prime example of art bringing order out of chaos, it is Steven Rosenbaum's 7 Days in September. -- The result is a narrative at once personal, admirably coherent and, above all, heartening.
  75. An across-the-board delight featuring a spot-on ensemble cast that treats the most awkward and embarrassing moments in the rites of passage with affectionate hilarity.
  76. Like the best of personal, independent cinema -- it is both marvelously observed and completely individual. There is no film like this film, and that is something you don't hear every day.
  77. Jackie Chan's best American picture to date, breathes fresh life into the virtually dormant comedy-western.
  78. In his knockout directorial debut writer Kevin Williamson taps into such universal memories with his shrewd and energetic dark comedy.
  79. Intelligent, poignant film.
  80. Highly entertaining and encouraging documentary.
  81. A diabolically clever psychological suspense movie.
  82. Biting and vicious, a styptic pencil on the battered face of "civilized divorce." It's also thoughtful, laceratingly funny, and bravely true to its own black-and-blue comic vision. [8 Dec 1989]
  83. A remarkably thoughtful drama, Lantana makes it clear not only how hard to come by any emotional comfort is in this life, but more important, why we can't give up on the struggle.
  84. An elegant, poetic fable of endurance.
  85. The result is a kind of ultimate romantic film, joining an almost Jamesian sadness and discipline to that extraordinary visual sensibility. It's not the kind of thing you see every day.
  86. All of this romantic back and forth unfolds gradually and in charming ensemble style. As the characters think about seducing each other, as they inevitably complicate their lives without being able to help themselves, the film is simultaneously seducing us.
  87. This is the best class of poetic realism, the kind you can believe in without a trace of hesitation.
  88. A smart, lively and unpretentious exploitation picture...Consistently funny and clever.
  89. Working Girl is the sparkling success that it is because of the sheer irresistibility of Melanie Griffith. [21 Dec 1988, Calendar, p.6-1]
  90. A witty and sophisticated sensibility brings individuality to the classic odd-couple comedy.
  91. It is a film of uncommon intelligence and rigor that illuminates a complex era, and the romance at its center is also one of exceptional passion and honesty.
  92. A luminous, piercing film from the Elizabeth Bowen novel, richly evokes a world of privilege on the verge of disintegration.
  93. A pleasure in all ways.
  94. In a sea of one-note symphonies, this touching feature is bleak and comic, heartbreaking and affirmative, romantic and tragic, gimlet-eyed and sympathetic, all at the same time.
  95. Moll, in only his second feature, evokes a sense of foreboding, playing the routine against the unnerving, the humorous against the sinister, with a wit and deftness that might have impressed Hitchcock.
  96. A wonder several times over.
  97. There is a sophistication about affairs of the heart, about the wisdom and the risks of romantic involvement that is more than quintessentially French. It's irresistible as well.
  98. A beautiful film that flows with a luminous ease and assurance.
  99. A small gem.
  100. This complex, sophisticated and increasingly suspenseful tale of love and betrayal, intrigue and redemption, is as elegant as its star and its settings.
  101. A mesmerizing, shimmering and amazingly successful adaptation of Time Regained.
  102. Has the same kind of humor, charm and sensuality that made "Like Water for Chocolate" the most popular foreign-language film until "Life Is Beautiful" came along.
  103. For so brisk and entertaining a film, sharp in its observations but light in its touch, Cooking has unexpected substance and is a formidable accomplishment in that it brings dimension to its nearly 40 principal characters.
  104. Not only is it Merchant's best directorial effort to date but also is among the finest films the Merchant Ivory company has ever made.
  105. Favreau, who wrote "Swingers," has now directed and written the hilarious Made, which re-teams him with Vaughn. The two play off each other so well that they recall fond memories of Jack Lemmon and Walter Matthau.
  106. Malena the film is as beautiful and seductive as its heroine, with its ravishing Lajos Koltai cinematography and sweepingly romantic Ennio Morricone score.
  107. Complex, challenging and richly rewarding, it glows with the kind of wrenchingly selfless portrayals that are the hallmark of the Bergman classics.
  108. A hoot, a hilarious comedy that's smart and caring, yet sexy and ingenious enough that it just might stir up some of that elusive "Full Monty"-style box-office appeal.
  109. Wonderfully humanistic film. Yi Yi investigates the entire melody of life.
  110. A classic war film, at once elegiac and immediate, that takes you smack into the chaos of combat yet is marked by a detached perspective.
  111. Im Kwon Taek's exquisite Chunhyang brings to the screen one of Korea's most cherished folk tales, a timeless romance in which the lovers are challenged by differences in class.
  112. Being able to hear this kind of playing is a special moment in time, one we don't want to end and one that we're privileged to experience.
  113. For all its nonstop energy and high spirits, Can't Hardly Wait allows its characters to emerge as fully dimensional individuals; they've been written with care and perception and played with equal aplomb by a roster of talented young actors.
  114. For fans of this kind of roots music, it was an event you would have given anything to attend. Down From the Mountain lets you do that and gives you terrific seats in the bargain.
  115. A seamless model of form and content. (My only quibble is the poor quality of the digital video, which doesn't do justice to Johnson's work.)
  116. It is a bravura work that attests to Pineyro's command of a style rich in texture and nuance and also of multilayered material.
  117. Yet another Merchant Ivory triumph.
  118. Identifying herself with other minorities (whose members she mimics outrageously), Cho shatters racial and sexual stereotypes with merciless wit.
  119. Corrente's gift for evoking the lives of blue-collar men that made his debut film, "Federal Hill," so appealing blends perfectly with the antic sensibility of the Farrellys.
  120. Because Bay of Angels reveals rather than moralizes, because its concerns are character and psychology, it's a potent showcase for Moreau's gifts.
    • Metascore: 70
    • Critic Score 90
    Circuitry plugs into the underground world of raves. The scene, complete with drugs and its own culture, is blissfully examined in a documentary that speaks the language of its youthful generation.
  121. A mature, accomplished piece of work, both funny and deeply felt, personal cinema of the best kind...Levinson has made the memory film we always hoped he would.
  122. Haneke illuminates beautifully the lives of his people with an eye for the revealing nuance and detail.
  123. Above all else expresses the timeless impact of Lily Bart's plight.
  124. Besides Montand's splendid performance, The Wide Blue Road's other treat is seeing a film that's both old-fashioned enough to believe that social concerns can lead to satisfying drama and well-made enough to deliver on that belief. A film infused with that kind of passion never goes out of style.
  125. A splendid instance of a surrealist vision that serves to heighten the impact of genuine emotions experienced by believably real people.
  126. In directing The Monkey's Mask from Annie Kennedy's adaptation of Dorothy Porter's novel-in-poetry, Samantha Lang displays considerable style and assurance, with Porter and McGillis giving beautifully nuanced portrayals.
    • Metascore: 79
    • Critic Score 90
    A lovely piece of movie making: precisely controlled but with a lived-in scruffiness.
  127. A warm and feisty documentary that is as much inquiry as it is tribute.
  128. With the ambitious and ominous The Devil's Backbone, Del Toro rises to a new level of accomplishment, adding history and politics to his distinctive blend.
  129. The sweeping, confounding conclusion therefore unfolds with a beauty and an ease that seem truly organic. The Way We Laughed has that feeling of being a work of art.
  130. In recent years, South Korean cinema has fully flowered, producing both uncompromising highly personal films and crisp, intelligent genre movies, with Shiri the most spectacular example of the latter to date.
  131. Has everything a period romance should have, including a score by Michael Nyman and passionate performances by stars Ralph Fiennes and Julianne Moore.
  132. Breathtaking reverie worthy of Fellini.
  133. Remains a timeless, major work of a master.
  134. Abounds in psychological suspense and plays like a mystery film, even though the mystery at hand may be purely one of the human heart.
  135. Martel's sharp observations of the foibles of human nature are expressed perfectly in the telling images of cinematographer Hugo Colace and tight editing of Santiago Ricci.
  136. Carefully made, involving and old-fashioned, the superior work it's inspired gives it an impact that lingers even when the endgame is over.
  137. As the film, with its haunting score and inspired use of popular music, builds flawlessly to its resounding conclusion, it is accompanied by a pitch-dark humor that grows out of the sheer absurdity of the city's daily body count.
  138. An elegant study of devious mind games and emotional perversion, it makes the strangest of psychological dynamics plausible and involving.
  139. An extraordinarily intimate, deeply affecting and revelatory documentary on how pain and passion can come together in a creative artist.
  140. A heart-tugger made totally irresistible because of the combination of Kitano's wry, sly sense of humor and his rigorous detachment.
  141. Lucie Aubrac has it all: a tender romance, acute suspense, terrific acting, and a camera style and and score that are beautiful yet understated...a major work, possessing breadth, depth and passion.
  142. An accomplished film that continually takes us beyond our first impressions of people and situations.
  143. A film of stunning impact.
  144. A most-affecting experience, an impressive accomplishment in all its aspects.
  145. Not only is the film that good, it's also that wonderfully, inescapably Czech.
  146. Droll and delicious.
  147. Such a smart and savvy piece of work it encourages us to feel we're eavesdropping on history.
  148. Ulee's Gold stands out for its sureness, its quiet emotional force and writer-director Victor Nunez's ability to find and nurture the mystery and power in the events of an ordinary life.
  149. Terrific escapist fare, stylish, outrageous and compelling.
  150. A handsomely mounted, graceful production that is well-played across the board.
  151. A confidently adroit thriller that captures a comprehensive sense of life in an edgy, multicultural and economically diverse Paris. The large cast couldn't be better, but the film belongs to Kiberlain.
    • Metascore: 57
    • Critic Score 90
    While it's possible to view this movie like a short-story collection, putting check marks beside the selections one likes best, to do so would deny the pleasure of experiencing this beautifully crafted, intricately designed story the way it was intended, as an organic whole. [11 June 1999, Calendar, p.F-8]
  152. The Cronenberg trademarks are here in full force, including an outrageous sexual suggestiveness in his bizarre special effects.
  153. A film of exceptional emotional honesty.
  154. Truly, there can be nothing as complex as the simplest human relationships, and nothing as satisfying as a film that understands that as this one does.
  155. Restrained yet powerful, devastating in its emotional effects.
  156. Rarely have a novelist and filmmaker been better matched.
  157. Boldly structured, intensely focused and briskly paced, Alice and Martin has a tremendous emotional density that places the utmost demands upon its actors--and asks a lot of audiences, too.
  158. A dynamite concert film.
  159. Although there is real pain and suffering in It All Starts Today, it is too impassioned, too brisk and too embracing of life and human foibles to be depressing.
  160. Gathering its forces slowly, this careful, thoughtful film, quietly but deeply moving, is dramatic without seeming to be.
  161. This graceful and wise film moves to its denouement with subtlety and, at its end, strikes a note that seems just right for all that has gone before.
  162. A wild at heart, anarchic comedy that believes in living dangerously.
  163. A wholly unexpected film, as heady and surprising in its humor as in its emotional texture.
  164. While other films struggle for their effects, Brothers simply lives and breathes, thoroughly likable from beginning to end.
    • Metascore: 67
    • Critic Score 90
    It's a nearly pitch-perfect melding of genres, influences and modes of expression--it's the first Mafia movie for the hip-hop age.
  165. It takes a director with exceptional talent, skill and experience to explore ambiguity in all aspects of human nature and behavior, and Oshima has created a film of resilient, downright tensile strength that ends on a satisfyingly ironic note.
  166. Intimate and human yet deeply ambitious, a powerhouse of a film made with a disturbing vision.
  167. Time is truly on Apted's side because the passing of time not surprisingly brings a richer, deeper perspective with each new segment.
  168. Spring Forward is so fully realized and so moving that you wish you could get away with merely saying: "Go see it for yourself."
  169. Branagh has mastered the tricky high-wire act of simultaneously kidding the conventions he is being absolutely faithful to, allowing us to squeal with both fright and knowing laughter. His is a film lover's film [23 Aug 1991, Calendar, p.F1]
  170. To watch this film, in short, can be a transforming experience.
  171. Egoyan understands how potent a deliberate pace can be, how effective it is in making already powerful material strong enough to tear at your heart.
  172. It's a film of high energy, punctuated by rock music and a dark wit, yet it is capable of profound reflection and tragic irony.
  173. Carvalho's superb cinematography, Antonio Pinto's score and a dedicated cast and crew admirably sustain this poetic and uncompromising film.
  174. Though the politically incorrect language is tough enough to have earned Clerks an initial NC-17 rating (re-rated R on appeal), its exuberance gives it an alive and kicking feeling that is welcome and rare. [19 Oct 1994]
  175. Ethan Hawke, in his feature directorial debut, has brought Nicolette Burdette's play to the screen with fluid grace and a perfect blend of dreaminess and grit, expressed in camerawork that seems to float and in Jeff Tweedy's shimmering, gently insistent score.
  176. The look and feel of the film is entirely beguiling. It is deliberately not a period piece, heavy with dated styles and fads, but instead evokes a sense of timelessness.
  177. We may have seen it all before, but when it's done up like this, experiencing it all over again is a pleasure. [16 June 1999, Calendar, p.F-1]
  178. Not just an especially subtle and thoughtful psychological drama, it's a provocative, even an unnerving one as well.
  179. Made under unique and wrenching circumstances, it gained poignancy and a kind of purity from its troubles, and an already affecting film ended up suffused with emotion.
  180. An exquisite performance by Charlotte Rampling, whose work as Lyubov Andreyevna Ranevskaya, the matriarch of the great estate the cherry orchard sits on, is the film's dazzling centerpiece.
  181. Graced with performers who bring a purity of emotion to their work, the film is always dramatically convincing. There is a fundamental air of truth about it, a sense that, horrific though things seem, this is how it must have been.
  182. The perfect summer tonic for mature audiences looking for sophisticated escape. It's filled with beautiful people in gorgeous, exotic locales.
  183. A stylish work from an accomplished, sophisticated filmmaker that bristles with intelligence and gleams with Scott's and Davis' multifaceted, astutely judged portrayals.
  184. It's sexy, brainy and slightly nuts.
  185. It takes exceptional acting to enable a story like this to take hold, and Campion has gotten it here. [19 Nov 1993]
  186. A wholly enveloping experience. Gentle, ravishingly beautiful and awash in everyday sensuality, it so intoxicates you with the elegance and refinement of its filmmaking that even noticing, let alone caring, whether it has a plot starts to seem beside the point.
  187. An excellent example of its genre, with Pennebaker capturing the excitement of what was a very special, emotion-charged occasion.
  188. By far the most approachable of the director's recent films, with an emotional depth that's true to life and a streamlined narrative that for long stretches barely contains a word.
  189. Charming, disarming and in some ways humbling film.
  190. His film may be something of a beautiful lie, but what's true about Sollett's characters is that their dreams, their grace and their struggles are as real as it gets.
  191. It's a classic rags-to-riches-to-rage tale about the fatal nexus of celebrity and market forces, a story that is unexpectedly poignant even though it's told to an insistent punk rock beat.
  192. A crisp, elegantly resonant film.
  193. Lumumba is potent stuff. Complex, powerful, intensely dramatic.
  194. The Piano Teacher will surely be too strong for some audiences and is best left to those who like films that take big risks and get away with them.
  195. Evil Dead 2: Dead by Dawn never lets up, continually introducing new characters and adding new thrills and chills right up to the last frame… A terrific trip, although admittedly not one that everybody would enjoy taking. [13 Mar 1987, Calendar, p.6-14]
  196. Records an accident while it's happening, revealing a situation that makes you laugh again and again while weeping, metaphorically at least, for the sheer frustration of it all.
  197. It's just that when a movie is this close, with so much of the sports flavor (co-producer Thom Mount is co-owner of the real Durham Bulls), you like to see it perfect. [15 June 1988]
  198. A provocative political thriller that is as troubling today as when it came out in 1970. Maybe more so.
  199. A sweeping romantic fable about love and mortality, targets an audience of girls in their early teens, but has been made with such skill and sensitivity that its appeal spans generations.
  200. Demands the utmost concentration, for to look away from the screen for even a brief moment is to risk losing a plot line or a crucial bit of information, but its cumulative, transporting impact makes it worth the effort. Above all, it has an overwhelming sense of reality atypical of the American cinema.
  201. Here, the message is the moviemaking and the unparalleled joy you get from a film that can carry you off so completely, making you forget about everything save for the beautiful lies in front of you.
  202. Once again Chabrol's son Mathieu has composed a crucially evocative score, and Renato Berta's cinematography is gleaming. Merci Pour le Chocolat crackles with wit and elegance, humor and pathos.
  203. Boldly distinctive in its depiction of individuals caught up in a veritable infernal machine designed solely to give pleasure to a monarch, Vatel is a timeless tale of love and sacrifice in a world as opulent as it is cruel.
  204. The creators of the magnificent Balseros stayed involved with its subject, a group of Cuban boat people who made it to the United States, for a full seven years. If you put in that kind of time, you witness life happening in front of you in all its compelling, confounding drama. What could be better than that?
  205. Never before has a fiction film so clearly and to such devastating effect laid out the calculation of the Nazi machinery of death and its irrationality.