Jonathan Rosenbaum

The cast as a whole is astonishing--especially Gillian Anderson as Lily and Dan Aykroyd in his finest role to date.

Glitz with no mind and lots of fancy visuals, edited with a pounding beat.

Choreographically stunning like most of Woo’s work, especially before he headed west.

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.

The film's storytelling and heartfelt pantheism are both impressive.

Elliptical, full of subtle inner rhymes...and profoundly moving, this is the most tightly crafted Kubrick film since "Dr. Strangelove," as well as the most horrific; the first section alone accomplishes most of what "The Shining" failed to do.

One of many clear advantages this funny and scary 1989 fantasy-adventure has over most Disney products is its live-action visual bravado, evident in both the stylization of the witches and the profusion of mouse-point-of-view shots.

A pretty watchable and always interesting period film, well photographed by English cinematographer Freddie Francis.

Watchable enough on its own terms.

An entertaining if humdrum 1993 documentary...Seeing the actual deliberations behind image making has a certain built-in interest, but I expected more surprises.

Sweet and warm as well as manic, this is full of loopy surprises, and the supporting cast (including Penelope Ann Miller, Bruno Kirby, Steve Bushak, Maximilian Schell, and Bert Parks, playing himself in his film debut) is uniformly fine.

This movie feels like it was made by a bank rather than a person.

One regrets the pounding Muzak of Tangerine Dream, but this is on the whole a striking directorial debut, at once scary and erotic, with lots of sidelong touches in the casting, direction, and script .

On the whole, the adaptation is faithful but some of the qualities of Dinesen's language are lost in translation or through abridgment, and the politics have been needlessly simplified.

I wouldn't have minded even the Hollywood schlock lurking behind the studied weirdness if I'd believed in any of the characters on any level.

This may not have gotten much publicity, but it's a lot more engaging than most movies that have; Forster alone makes it unforgettable.

Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.

Francis Coppola's ambitious 1992 version brings back the novel's multiple narrators, leading to a somewhat dispersed and overcrowded story line that remains fascinating and often affecting thanks to all its visual and conceptual energy.

This may have its occasional dull stretches, but in contrast to "Saving Private Ryan" it's the work of a grown-up with something to say about the meaning and consequences of war.

This poses some tricky moral questions, and its troubling ambiguities rank a cut above the dubious uplift of "Schindler's List."

What's most memorable about it is the period flavor, including a detailed and precise account of the jim crow complications blacks had to contend with.

One of the most striking of Ozu’s American-style silents.

The disparate themes never quite come together, but with many fine performances—John Turturro and Lonette McKee are especially good—you won't be bored for a minute.

Impressive for its lean and unblemished storytelling, but even more so for its performances.

In general, the dogs-as-mirrors theme--the crazy things people do with and in relation to their pets--is what keeps this going, and the laughs are sporadic but genuine.

Perhaps this movie isn't as wise or as profound as Simon wants it to be, but it is certainly a cut above sitcom complacency, and packed with wit and charm.

The deft arabesques of cinematographer Andrzej Bartkowiak juice up the suspense, and if you're not too put off by the sheer ridiculousness of the story you won't be bored.

Dreyer’s radical approach to constructing space and the slow intensity of his mobile style make this “difficult” in the sense that, like all the greatest films, it reinvents the world from the ground up. It’s also painful in a way that all Dreyer’s tragedies are, but it will continue to live long after most commercial movies have vanished from memory.