Desson Thomson

Superbly conceived anti-biopic.

One fabulous Middle-earth show.

Buscemi makes Seymour into a character you simply want to see again and again. He's the most appealing, amusing "loser" anyone could ever share old records with.

This movie is great in any version...I don't miss what has been cut from the new version. The overall effect is so beautifully wrought, a few details aren't going to bring things crashing down.

It gets you below the emotional belt in a searing, delicate way. No movie this year approaches such magnificent imagery, such delectable poetry.

Chinese director Zhang Yimou understands perfectly that the small can be epic and awe-inspiring. And, by the way, he knows how to get big, too.

If you want to sample the sheer bouquet of great acting, you could get drunk on this movie.

A movie for aesthetically hungry moviegoers: wildly amusing, sometimes sardonic and always touching. There's so much here, and all of it delightful.

Delightful...a subtle and moving drama.

There's no doubt about the film's sheer power and taut originality.

With the exception of the opening scene -- whose purpose is chiefly comic -- the movie is one, extended climax. Even with flashbacks and other time jumps, it never lets up. You have to go back to Henri-Georges Clouzot's 1952 "The Wages of Fear" to recall suspense this relentless.

An extraordinary and brilliant (and almost wordless) film that takes us above ground and below it, up in the air and deep below water, to follow its conundrum of a story.

A sobering reflection on our culture's attitude toward violence.

Reveals itself detail by searing detail.

A guaranteed pleasure for anyone who ever loved pop music, owned a record collection or suffered in love

Wickedly funny. In fact, Heathers may be the nastiest, cruelest fun you can have without actually having to study law or gird leather products. If movies were food, Heathers would be a cynic's chocolate binge.

In this final installment of a glorious trilogy (which includes the films “Blue” and “White”) he has saved his greatest for last.

It doesn't matter how many times you see these images. They're always exciting.

The film's not only funny and weird, it's oddly poignant. I miss Hedwig already.

It is sheer brilliance and testament to the vitality of an old master.

After watching Vertigo at the Uptown, I was awestruck.

Masterfully arranged for color, texture, decor and camera fluidity, The Conformist is more like a symphonic poem than a movie. (Review of 1994 Release)

A jarring, mesmerizing documentary.

With its deft intercutting of place and time, the film creates a powerful sense of mysticism and fate.

There's a lot in this movie, simple, big, small and exciting. It's the year's first serious contender for big prizes. What's not to like about this picture?

This movie, directed with precision and an appreciation for (relatively) rich character texture by Sam Raimi, remembers all the fine elements of the original film (and the comic book story). It reprises them perfectly, including wonderfully choreographed, skyscraper-hanging fights.

Want to see something strange, funny, twisted, brilliant and macabre? Sure you do.

A movie that dares you to slow down and enjoy the subtleties of life.