Phil Hall

A remarkable triumph of documentary filmmaking. It is impossible to walk away from this film without being jolted.

This one deserves to go back in the refrigerator – preferably to the very back of the refrigerator!

Whereas "Cuckoo’s Nest" is a brilliantly over-the-top accomplishment, The Passenger is more brilliant with the most effortless underplaying one can ever hope to witness on screen.

Being released at the same time that Bowie's latest album "Heathen" is being unveiled. Bowie fans who need a reason to celebrate the trajectory of the artist's career can make use of this cinematic Alpha and CD Omega.

Engrossing and brilliantly insightful production.

Thoroughly obnoxious and relentlessly unfunny comedy.

At 100 minutes in running time, Dallas 362 can be called "The Amateur Hour-and-40-Minutes."

A treasure in celebrating remarkable women with a unparalleled zest for life.

While the Raymond Burr sequences and the subsequent clumsy English dubbing of the remaining Japanese footage made the U.S. version an unintentionally funny movie, the complete Japanese version is an unfunny bore.

Although not a great film by any stretch, it is a fascinating slice of a fractious period in American history.

A painfully awful film.

This amazing tour-de-force presents Huppert in a role, which is equal parts abrasive and vulnerable, exasperating and pathetic, monstrous and saintly.

The Stranger may not be at the same level as Citizen Kane, but what is? On its own terms, it is a fine and invigorating experience that deserves to be sought out and enjoyed.

Tiresome, trite and choked with every lousy Dixie-fried stereotype imaginable.

A strangely inert affair. The stories devolve into one-dimensional squabbling and too many loose threads flap around the edges.

Sadly, the whole affair is little more than ennui with a pedigree.

Little more than a travelogue designed to show off the grandeur of the Hermitage, with the silly actors in fancy costumes getting in the way of the paintings and sculptures on display.

This is clearly not a pleasant film to watch on many levels.

More of a hangnail sketch -- no one can come away from this offering with a clue on what makes Wall Street click.

One of the most towering and extraordinary films to grace the screen.

The only obvious question that Oswald’s Ghost raises is: how come Mort Sahl wasn’t in the movie? (If you don’t get that joke, you need to brush up on your Kennedy conspiracy lessons.)

Wooden, one-dimensional epic.

Rich with wonderful music and images.

While I admire Bishop Jakes and I frequently watch his sermons on TV, I have to question his tactic of charging people admission to generate hosannas on his behalf.

Rich with compelling, often heartbreaking stories.

Bubble is among his (Soderbergh) worst films. What in the world was he thinking with this?

There is a wealth of smaller dramatic triumphs of sly gestures, body language working at odds with spoken words, and minor goofiness (such as repeatedly blowing the rim of an opened beer bottle to create a rough whistle) which makes Home more humane (not to mention more human) than the vast majority of today's movies.

Bruno Dumont’s Flanders is something you don't see everyday: a decidedly non-sentimental love story.