Jonathan Rosenbaum

Results are classy entertainment with little to interest women viewers but very shrewdly and cleverly put together, and probably more rewarding in long-range terms if you invest in Fox or Dreamworks than if you actually see the movie.

This 2002 German documentary (in English) by Marta Kudlacek is the best portrait of an experimental filmmaker that I know.

Like most of Lee’s work, this movie bites off a lot more than it can possibly chew, and it bristles with the worst kind of New York provincialism.

A strong, disturbing picture (1988) in which Meryl Streep’s beauty and talent and director Fred Schepisi’s intelligence are both shown to best advantage, without easy points or grandstanding.

The only problem I was faced with was trying to understand what exactly it was that I enjoyed, and how this movie differed from the play I'd read.

Arguably Woody Allen's funniest movie. A riotous object lesson in how much dialogue can transform visuals, and Allen works wonders with it.

This is a remarkably gripping, suggestive, and inventive piece of storytelling that, like Kubrick's other work, is likely to grow in mystery and intensity over time.

The film runs for 134 minutes, but Lumet keeps things moving with his sharp eye (and ear) for New York detail and his escalating sense of liberal outrage.

This is hilarious, deadly stuff, sparked by the cynical gusto of the two leads as well as the fascinating technical display of how TV "documentary evidence" can be digitally manufactured inside a studio.

A mixed success, but an exhilarating try.

Everything seems to fall into place according to earlier Egoyan films, which suggests that you're likelier to enjoy this one if you haven't seen the others.

Often seems more old-fashioned than modern.

Part of Morton's achievement is to present all four people through the viewpoints of the other three; Wagner can't do that, but the performances are so nuanced that the characters remain multilayered, and they're not the sort of people we're accustomed to finding in commercial films.

I can't think of a better portrait of contemporary Paris or the zeitgeist of 2001-'04 than Chris Marker's wise and whimsical 58-minute 2004 video...no one can film people in the street better than Marker or combine images with more grace and finesse.

A very curious and eclectic piece of work--fresh even when it's awkward.

This rambling but beautiful feature by Theo Angelopoulos may seem like an anthology of 60s and 70s European art cinema: family nostalgia from Bergman and seaside frolics from Fellini; long, mesmerizing choreographed takes and camera movements from Jancso and Tarkovsky; haunting expressionist moods and visions from Antonioni.

As Dr. Octopus, Alfred Molina makes a more baroque supervillain than Willem Dafoe did as the Green Goblin, but the other stars--seem happy to be giving us more of the same.

Certainly one of the director's most personal and obsessive works—even comparable in some respects to Malcolm Lowry's Under the Volcano in its bottomless despair and bombastic self-hatred, as well as its rather ghoulish lyricism.

This 1975 satire about a “Young American Miss” beauty pageant and the middle-class mentality of small-town southern California is Michael Ritchie’s best feature, though it hasn’t won anything like the reputation it deserves.

The results are masterful, admirably unsentimental, and never boring, if also a little stodgy.

It may drive you nuts, but it’s probably the most inventive and original Godard film since Passion.

This brisk, free-falling fantasy about the famous collators of German fairy tales, played here as a kind of comedy act by Matt Damon and Heath Ledger, is Terry Gilliam's most entertaining work since the glory days of "Time Bandits," "Brazil," "The Adventures of Baron Munchausen," and "The Fisher King."

The adroit mixture of pantheism and sentimentality continues to be sufficiently timeless to allow Disney's heirs to recycle this picture endlessly.

This outrageous comic fantasy may not sustain its brilliance throughout all of its 112 minutes, but it keeps cooking for so much of that time that I don't have many complaints.

A highly entertaining form of ecological agitprop--radical but accessible.

Stylish and effective, if slightly overlong, thriller.

Gondry is a soft surrealist without much of a sociopolitical agenda, closer to Dr. Seuss than Luis Buñuel,

However one chooses to take its jaundiced view of history, it's probably the best film to date by the talented Kusturica (Time of the Gypsies, Arizona Dream), a triumph of mise en scene mated to a comic vision that keeps topping its own hyperbole.