Marjorie Baumgarten

Based on a Cornell Woolrich short story, this is one of Hitchcock's finest moments, full of subtle humor and nasty black turns, not to mention a wonderful score by Franz Waxman and gorgeous cinematography from longtime Hitchcock director of photography Robert Burks.

Linklater’s newest film, a true masterwork, eschews this big-bang theory of dramatics in favor of the million-and-one little things that accumulate daily and help shape who we are, and who we will become.

Bergman and Grant sizzle in this espionage tale written by Ben Hecht.

Vertigo stands as one of the thrill master's most psychologically dense and twisted works in which obsession, commitment, and dual identities all merge to create a voluptuous tale of thwarted love. [Restored version]

Although made in 1969, this French masterpiece is receiving its first stateside release with a new print struck for the occasion.

This is an amazing allegorical study of the life and death of a donkey named Balthazar, whose nasty, brutish life as a slave parallels that of a young farm girl.

These creatures of the underworld are the fervid fabrications of del Toro's imagination: More than once they will catch you by surprise and make you gasp.

If Billy Wilder achieved nothing else in his entire career, he would still rank as one of the great masters of cinema for pulling off this comic tour de force.

One of Hitchcock's very best comic thrillers, North by Northwest features scene after unforgettable scene.

In this enduringly transcendent love story, Truffaut traces the relationships between three lovers and friends over the years. Moreau dominates every fragment of the movie with her magisterial eroticism. The film works in ways that touch the heart more than the mind.

More lethal than a nuclear waste dump, Kubrick's komedy at least kills us with laughter... It's one of the greatest - and undoubtably the most hilarious - antiwar statements ever put to film.

Streetcar is always a wonderful screen drama and now, also, a study in film archeology. [Director's Cut]

Teen tales don’t get much better than this.

The peerless actors match and elevate Lonergan’s artistry beat for beat. And the film’s greatest gift of all may be that it declines to tidy up after itself, prettifying life’s messiness with a finishing bow. In the end, it’s the package that counts, not the wrapping.

Beauty and the Beast, one of Disney's latest animated features is even better than The Little Mermaid. At the same time, it's vaguely disappointing.

Nic Roeg here offers one of the most disconcerting portraits of otherworldliness ever seen on the screen.

This 1964 film, featuring an enduring Lerner and Loewe score, is a classic.

What the film excels at, however, is the anticipatory desire. It builds slowly, concluding with a stunning sequence that is all breathless remembrance and self-satisfaction that is both wordless and impalpable. The film will seem the height of romantic desire to some, but will be a slow burn for others.

Ideas and their visual illustrations come at the viewer in a cascading torrent. The editing by Alexandra Strauss deserves its own recognition for its painstaking exactness.

Love means being helpmates throughout all of life's stages. Death is part of love's bargain, and Haneke lays this fact bare.

Very satisfying. Classic storytelling, modern techniques. And the images: This movie has embedded so many strange and new mental pictures in my head that I'm not able to shake free. Yet, neither would I want to be free.

The story winds its way over the material, forcing the characters and the viewers to constantly reassess everything they have seen and heard.

The movie's ending at the train station and the modern-day epilogue feel protracted and indulgent...Apart from the ending though, this is Spielberg's most articulate movie ever.

In Carol, all the elements dovetail perfectly to create a movie that is as irresistible as its title character.

Before Midnight surpasses the two previous films in this trilogy in terms of its intelligence, narrative design, and vivacity. It’s a grand accomplishment, and I feel greedy about wanting to see this film series continue.

Great effects and a nasty undercurrent drive this vehicle.

Arguably, the best John Ford film ever, certainly one the very best, The Man Who Shot Liberty Valance is an American classic. Ford addresses the complexity of heroism in a poetic manner.

Capturing the nuances of quotidian life may not be everyone's cup of tea.