Richard Corliss

This is a tale of redemption and transcendence, of the hunchback of London Hospital, of the noble phantom who want to go to the opera, of Beauty and the Beast. In Treves' account, though, the Beast was a Beauty. In Lynch's hands, so is this film.

An instant classic.

Pi is a giant leap forward, outward and upward in expanding the resources of the evolving medium of movies. Magical realism was rarely so magical and never before so real.

It shows Eastwood, at 84, in his finest directorial effort since the 2008 "Gran Torino," while painting on a much broader canvas. Utterly in command of his epic material, he films the Iraqi action in terse, tense panoramas with little cinematic editorializing, as if he were an old Greek or Hebrew God who is never surprised at man’s ability to kill his fellow men, or to find reasons to do so. Directing 34 films over 44 years, Eastwood has honed his craft to its essentials: make it seem as if the story is telling itself.

It works; this is Pixar's most enthralling entertainment since "Nemo."

"The Avengers" is kid stuff compared with this meditation on mortal loss and heroic frailty. For once a melodrama with pulp origins convinces viewers that it can be the modern equivalent to Greek myths or a Jonathan Swift satire. TDKR is that big, that bitter - a film of grand ambitions and epic achievement. The most eagerly anticipated movie of summer 2012 was worth waiting for.

Singin’ in the Rain might have been the last musical of the ’50s to convey irrepressible optimism through what Alan Greenspan would call “irrational exuberance.” But what exuberance! Look at it and try to think of a contemporary picture that has half as much vivacity, fun, joy. When your movie-loving grandpa says, “They don’t make ’em like they used to,” he is surely thinkin’ of Singin’ in the Rain.

A grand and poignant movie epic about what is lost in war and what's worth saving in life. It is also a rare blend of purity and maturity -- the year's most rapturous love story.

"How perfectly goddamned delightful it all is, to be sure." Irony aside, that's how to respond to this magnificent study in ink and blood.

No goggles, no gloom. And no competition for the coolest, orneriest, funniest, best-looking movie of early 2011.

Crouching Tiger is contemplative, and it kicks ass. Or put it this way: it's a powerful film and a terrific movie.

There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]

The best, surely the smartest, English-language movie of the year to date.

Sideways is by far the year's best American movie.

The true, rare glamour of the piece is its revival of two precious movie tropes: the flourishing of words for their majesty and fun, and--in the love play between Fiennes and his enchantress--the kindling of a playfully adult eroticism.

This is high, and high-wire, melodrama. It's less soap opera than grand opera, where matters of love and death are played at a perfect fever pitch. And grand this Golden Flower is.

It is as cool and distant as the planet the Strangers come from. But, Lord, is Dark City a wonder to see. [2 March 1998]

The result is that rare Hollywood achievement, an adventure of the intelligent spirit. From lift-off to splashdown, Apollo 13 gives one hell of a ride. [3 July 1995]

Smartly crafted, impeccably acted, The Lives of Others packs a subtle punch, from its creepy first images to its poignant finale.

A near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.

A technical knockout. [29 June 1987]

Apocalypse Now is about an American, perhaps a human madness. It searingly depicts, and finally embodies, the spiritual wounds men inflict on themselves and one another in the name of war. To gain the hearts and minds of a distant people, we lose our own souls.

Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work.

Though faithful in every detail to Tolkien, it has a vigorous life of its own -- grandeur, moral heft and emotional depth.

Batman Returns could mark a happy beginning for Hollywood -- not because it might make a mint but because it dispenses with realism and aspires to animation, to the freedom of idea and image found in the best feature-length cartoons.

Reveling in its ’70s milieu and in the eternal abrasion of sexy women and covetous men, American Hustle is an urban eruption of flat-out fun — the sharpest, most exhilarating comedy in years. Anyone who says otherwise must be conning you.

Hero is the masterpiece. It employs unparalleled visual splendor to show why men must make war to secure the peace and how warriors may find their true destiny as lovers.

At the end, the movie tops itself with comic outtakes, undoubtedly the funniest finale of any cartoon feature. “Antz” may have amused viewers with its sidewise wit, but as a comprehensive vision of computerized moviemaking, Pixar's dream works. And when A Bug's Life hits its stride, it's antastic.

The film is seductive, disturbing, enthralling -- a trip to hell that gives the passengers a great ride.

The funniest, cleverest, most exhaustingly exhilarating animated feature in ages.

The controversial film that is unbearable--and unmissable.

Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.

The best Hollywood movies always knew how to sneak a beguiling subtext into a crowd-pleasing story. Superman Returns is in that grand tradition. That's why it's beyond Super. It's superb.

For three hours, Kechiche puts the audience on a ride nearly as exhilarating and exhausting as that endured by Adèle and Emma, Adèle and Léa. The film is like a tough exam that everybody aced. The director, the actresses, the moviegoer — we all deserve a très bien.

In a style of agitated naturalism, Jordan examines poignant matters of life and death, sex and friendship, duty and loyalty, freedom and bondage, manhood and womanhood and all the ambiguous areas in between. [30 Nov 1992]

Triplettes is terrific…there's no competition for the fall's most imaginative delight. In that race, Triplettes can already take its victory lap.

The second half of the film elevates all the story elements to Beethovenian crescendo. Here is an epic with literature's depth and opera's splendor -- and one that could be achieved only in movies. What could be more terrific?

It's an exhilarating trip of movie madness and sadness.

Reitman's blend of comedy and drama, romance and social observation make Up in the Air the ideal movie --- and maybe even a cure -- for the Great Recession blues.

As you watch this enchanting fantasy, feel free to be thrilled or to giggle, as you wish. This time, Happily Ever After lasts 98 minutes. [21 Sept 1987]

So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history. [Sept 24, 1990]

This is a chase movie (Simon Legree after three Little Evas) across parched outback terrain, captured with rapturous authenticity by cinematographer Christopher Doyle.

Hannah and Her Sisters is old-fashioned in another sense: its plot has the elegant geometry of a Philip Barry play. [Feb 3, 1986]

As thoughtful as it is handsomely acted. Caine's subtle, bold performance should guarantee him an aisle seat on Oscar night.

In an amazing year for animation, The Princess and the Frog is up at the top. Go on, give it a big kiss.

When a genius like Lasseter sits at his computer, the machine becomes just a more supple paintbrush. Like the creatures in this wonderful zoo of a movie, it's alive!

It's just possible that Tarantino, having played a trick on history, is also fooling his fans. They think they're in for a Hollywood-style war movie starring Brad Pitt. What they're really getting is the cagiest, craziest, grandest European film of the year.

To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.

Intoxicating. [19 Dec 1988, p.78]

Three of the hippest indie film princes make a perfect commercial comedy.

The most beguiling romantic comedy this side of "Broadcast News." [11 Jan 1988]

A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.

Bursting with earned emotion, Hugo is a mechanism that comes to life at the turn of a key in the shape of a heart.

This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.

However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.

It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]

The movie is a museum of emotions, brought to contemporary life through the director's artistry and his leading lady's fire. Here, they show us, is how people felt, and hurt, in another time. Their love and pain can touch us today.

For 82 minutes, The Little Mermaid reclaims the movie house as a dream palace and the big screen as a window into enchantment. Live-action filmmakers, see this and try to top it. Go on and try.

The year's most thrilling, FEELING mainstream movie.

Kidman, in a career-best performance, and Eckhart lend pitch-perfect calibration to the couple's shared and separate agonies. It's as if previous treatments of the subject were a series of failed experiments, and Rabbit Hole is the Eureka! moment.

The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.

This is a true-life heist movie, and the thieves not only got away with their billions, they're still doing business. Pay attention and blow a gasket.

It's a cocktail-party movie with a Molotov-cocktail finish: a tribute to the 88-year-old auteur's artistry - and his con artistry as well.

A document that is raw, eloquent, horrifying and essential.

An expensive flop and the latest Iraq movie to be shunned by the mass audience, Green Zone was still the year's most visceral, thrilling entertainment.

On its bright face, The Imitation Game, written by Graham Moore and directed by Morten Tyldum, fits into that cozy genre of tortured-genius biopics that sprout like kudzu just in time for the Oscars. But that’s not fair to the film, which outthinks and outplays other examples of the genre.

We the viewers are its beneficiaries, watching and waiting for something awful to happen. Here it does, first subtly, then spectacularly. The twist is not revealed until the last shot--if you keep your avid eyes open.

It is a ripping yarn and a spectacularly new and odd vision.

His films will never be mainstream fare; audiences who wander into the theater may well find them derisive, needlessly shocking, perhaps unforgivable. But I'd call them, and especially Life During Wartime, unforgettable.

This is a declaration of love: The Opposite of Sex is the smartest, edgiest, most human and handsomely acted romantic comedy in elephant years.

Mark down the date: June 27. That's when American moviegoers will see this perfect storm of a film, and the tiny force of nature that is Quvenzhané Wallis.

The movie is not just spectacle; it's got a tender, ultimately tragic love story and enough deadly political scheming to fill a Gaddafi playbook. Indeed, in its narrative cunning, luscious production design and martial-arts balletics, Detective Dee is up there with the first great kung-fu art film, King Hu's 1969 "A Touch of Zen." We'd call it "Crouching Tiger, Freakin' Masterpiece."

In 2007, Jamie Foxx won Best Actor for his subtle performance as Ray Charles. Boseman exceeds that solid standard. Incarnating James Brown in all his ornery uniqueness, he deserves a Pulitzer, a Nobel and instant election to the Rock and Roll Hall of Fame.

A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"

A final word for those of you who just don't care for musicals: The movie's true lyricism is less in its score than in its visual and emotional palette, and in watching Depp rise to the majesty of madness. So give Sweeney Todd a try. Even Victor, when he finally saw it, agreed: it's bloody great.

This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.

Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.

Jonze creates the splendid anachronism of a movie romance that is laugh-and-cry and warm all over, totally sweet and utterly serious.

Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]

The movie is one continuous, exhausting, exhilarating chase.

In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.

By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.

A marvelously sad and funny docucomedy. [22 Oct 1990]

Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.

Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]

Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.

What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]

So Almost Famous is almost fabulous. Oh, all right. The movie's so clever and endearing, you can forget the almost.

Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.

Poignant, troubling and altogether splendid new film.

Sin City is brazenly, thrillingly alive.

Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.

Moviemaking doesn't get much smarter, funnier, handsomer, better than this.

As both a simian simile and a wonder of technology, Rise of the Planet of the Apes deserves to be in the company of the great original "Kong." This year's sixth "origins" story of a fantasy franchise (after The Green Hornet, Thor, X-Men: First Class, Green Lantern and Captain America: The First Avenger) is also the year's finest action movie.

A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]

Clint Eastwood has crafted a bold and meticulous epic.

Master and Commander is to movies what Russell Crowe is to acting. With subtlety and power, it explores the complexities of men at war, even with themselves. It puts the passion into action, and the thrill into thought.

The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.

The cast list is like a convocation of the Three Chinas: Taiwan's Kaneshiro, Hong Kong's Lau and the mainland's Zhang Ziyi. All are terrific, but the lady shines brightest.

Beyond dark. It's as black -- and teeming and toxic -- as the mind of the Joker. "Batman Begins," the 2005 film that launched Nolan's series, was a mere five-finger exercise. This is the full symphony.

One of the strongest movies in recent years.

A kind of mashup of "Our Town" and "Village of the Damned," the film is both draining and enthralling.

The first great movie of the summer.

Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.

This film's manifold pleasures come in a series of small packages, with treats inside as tasty as they are unexpected.

Unforgiven questions the rules of a macho genre, summing up and maybe atoning for the flinty violence that made Eastwood famous. [10 Aug 1992]

District 9 proves that genre films, besides being a hell of a lot of fun, can say things you hadn't considered and show stuff you haven't seen.

What explosive mischief might they create? That's the premise of Morris' brilliantly incendiary new comedy Four Lions.

Proof is on the side of the lost, blessed souls. Paltrow, as alluring and reassuring as ever, emphasizes the blessedness in the isolation of genius, giving a new dimension to a complex role. New, true and thrilling--she is the Catherine that Proof was waiting for.

Because she also has a classical heroine's sense of quest, the picture's Pocahontas rises above stodgy old legend into the sky of myth... That's apt for a role model for any child, red or white. And it's perfect for a film romance that earns a place of honor among Disney's latter-day animated film stunners.

The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]

The fable of four Englishwomen on a Portofino holiday gives moviegoers a vacation in rapture.

Director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic.

If you see him (Jake Gyllenhaal)onscreen in Nightcrawler, you’ll have a closeup view of one of the movie year’s most compelling sociopaths. He’s something you can’t turn away from.

If there were an Oscar for ensemble acting, Ray would win in a stroll.

The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.

Embrace the movie -- surely the most vivid and persuasive creation of a fantasy world ever seen in the history of moving pictures -- as a total sensory, sensuous, sensual experience.

Has a whirligig wit, and 11 songs crammed into its 67 minutes: that's more melodic content than in most Broadway musicals.

Like Harry and Sally, the movie is hardworking, spot on; it winepresses its conversation into epigrams. No surprise here.[31 July 1999, p.65]

At first and final glance, Poltergeist is simply a riveting demonstration of the movies' power to scare the sophistication out of any viewer. It creates honest thrills within the confines of a P.G. rating and reaches for standard shock effects and the forced suspension of disbelief only at the climax, when we realize that the characters are behaving with such obtuseness precisely because they are trapped inside a horror movie.

Green shoots his groping lovers in the art-film style -- long takes, static frame -- but his tone isn't at all minimalist; it's achingly, breathtakingly romantic, like the old Hollywood love stories his kids have never seen.

Not just a ripping yarn but a powerful, poignant coming-of-age story.

Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.

So, for those of you who were wondering if a great TV show could top itself at feature-film length, the good news is that The Simpsons did it! But "South Park" did it first.

In The Sacrifice, the cryptic Tarkovsky style helps create a towering cathedral.

The sweetest and funniest of Guest's true-life fake-umentaries.

This is rapture in pictures. [22 December 1997, p. 81]

The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.

The poise and passion in Eve's Bayou leave one grateful, exhausted and nourished. For the restless spirit, here is true soul food.

It’s an enormous, steroidal blast, and as much ingenious fun as a blockbuster can be.

The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.

The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]

Tom Ford -- the Texas-born fashion designer who for a decade was the creative director at Gucci -- financed this first feature himself. The producer couldn't have hired a smarter director.

Darren Aronofsky brings wild ambition and thrilling artistry to one of the Old Testament’s best-known, most dramatic, least plausible stories — Noah and the ark — with Russell Crowe infusing the role of God’s first seaman and zookeeper with all his surly majesty.

It's a cagey delight, and an imposing feature directorial debut for one of Britain's TV stalwarts.

The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."

For dinosaurs to rule the earth again, the monsters needed majesty as well as menace. And Spielberg got it all right. [14 June 1993, p.69]

This darkly seductive, flawlessly acted piece is worlds removed from most horror films. Here monsters have their grandeur, heroes their gravity. And when they collide, a dance of death ensues between two souls doomed to understand each other.

Davies recalls all these sights and sounds -- so horrifying, so beautiful -- and, with his unflinching style, turns anecdote into artistry. The distant voices still live.

Funny, hurtful, splendidly acted.

Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]

Matthews brings to The Interrupters what every terrific documentary needs: an out-of-nowhere personality with the same magnetic watchability as any Hollywood star.

Rambunctious, disturbing, often hilarious new documentary.

The Incredibles has those characters, that heart.

Nearly a century after that black-and-white cartoon short, and 65 years after a “classic” animated feature that missed the mark, Disney finally got Cinderella right — for now and, happily, ever after.

But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.

Shot in 30 days after a long rehearsal period, with the actors’ and the camera’s movements calibrated to the inch and the millisecond so the action flows smoothly, the picture has the jagged energy of a long guerrilla raid choreographed by Bob Fosse.

Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.

The voluptuousness of visual detail offers proof, if any more were needed after The Little Mermaid, that the Disney studio has relocated the pure magic of the Pinocchio-Dumbo years.

Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.

It blends tension and emotion, computer wizardry and dramatic skill in a vigorous climax--and the most impressive, haunting final shot of the movie year.

The viewer almost has to be a journalist--or a good editor--to sniff out the meat under all the fat.

Big and pretty, vigorous, thoughtful, this Hamlet expands the story with helpful flashbacks.

This is an original work in an antique mood. The actors and authors all have fun with the genre without making fun of it. Rather, they revive it.

The most mature and satisfying work in a glittering, consistently surprising career.

t's a movie for adults -- if they can keep up with its careering pace -- and, yes, you can take the kids. It juggles a '90s impudence with the old Disney swank and heart.

The rhythm of rural life has rarely seemed so lucid and luminous.

A contemplative crime drama with a high startlement quotient.

The whole rollicking adventure zips along a mile a minute.

Whatever city this one is showing in...move there.

Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.

This being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces.

Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.

If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.

Smaug is different: a really good movie, superior to the first in that it brings its characters to rambunctious life.

The Squid and the Whale is domestic tragedy recollected as comedy: a film whose catalog of deceits and embarrassments, and of love pratfalling over itself, makes it as (excruciatingly) painful as it is (exhilaratingly) funny.

The film is a gorgeous garland on an unknown soldier's grave.

Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.

A picture about war and politics that has manages to be both rational and inspirational. It is also the year's funniest smart movie.

The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.

It's a terrific movie. I love the look and the verve of the thing, the confidence of its epic design, its smart use of half a dozen noted British thesps, lending weight and wit to the supporting roles.

Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.

A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]

Miller suggests violence; he does not exploit it. He throws the viewer off-balance by mixing the ricochet rhythms of his chase scenes with tableaux of Walpurgisnacht grandeur.

Kaufman may be counting on the audience's will, insistence and yearning to create a coherent love story from the shards and shrapnel he provides us.

As bustling and impassioned as the best Sturges and Capra movies, this one captures both the purposeful edginess of Administration Pooh-Bahs (Martin Sheen, Michael J. Fox, David Paymer and Samantha Mathis--nice jobs, all) and the isolation of the President. [20 Nov 1995, p.117]

Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.

This enthralling, enigmatic, romantic drama from Asia's most influential auteur (Chungking Express) is an essay in appetite and inhibition.

The summer’s best, coolest, juiciest, smartest action movie.

To their old fascination with Sunbelt pathology, to their side-winding Steadicam and pristine command of screen space, the Coens have added a robust humor, a plot that keeps outwitting expectations and a surprising dollop of sympathy for their forlorn kidnapers. [23 March 1987]

Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.

The film's both mental and experimental, more melodious than Yentl and at heart as soft and gentle as a Christmas kiss.

This is a survival manual turned into an existential prison-break movie; it cuts deep and, at its ecstatic climax, soars high.

With craft, crackle, a little bombast and plenty of residual rage, he has created a time-capsule movie that explodes like a frag bomb in the consciousness of America, showing how it was back then, over there.

Side Effects virtually demands a three-word review: Just see it.

This is a test, requiring rapt concentration and acute attention, and repaying a hundredfold. For spectators dulled by the midget movies of an arrtstically timid era, the film may be a chore. For those on Malick’s rarified wavelength, it’s a wonder.

Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)

Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.

Fincher, whose work on "Fight Club" and "Panic Room" displayed his expertise in melding the suspenseful and the lurid, plays it cool here. He lets his stars do their thing.

This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.

If the film is just as strange and endearing as its glowing protagonist -- and it is -- that's because the director and co-writer (with Mignola) is Guillermo del Toro, 43, who has the wildest imagination and grandest ambitions of anybody in modern movies.

This is a serious filmgoer's treat: intelligence cloaked in elegance.

A canny director and a top star decided to dig deep to find the core of a compromised hero. And when they reach that center of gravity, Flight soars.

Solondz's most waywardly endearing film - his gentlest triumph.

This is a bold, drastic and utterly persuasive inhabiting of a doomed fighter by a performer who has graduated from the shirtless rom-com Romeo of the last decade to indie-film actor du jour.

The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.

In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]

Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.

It is vigorous, subtle, thematically daring, visually gorgeous.

Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.

Fresh alchemizes the terrifying cliches of urban melodrama into annihilating poetry.

Can a movie have too much good stuff? Not when it's stuffed like this one.

An exhilarating two hours of serious fun.

Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.

The Trip may have familiar elements - it's pretty much "My Dinner With Andre" pinned to the plot of Alexander Payne's "Sideways" - but the badinage provides an immediate and lasting kick, as well as the spectacle of two champion combatants at the top of their game.

Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]

Both horrifying and hopeful.

A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.

Droll, reticent, flawlessly filmed fable of generosity.

This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.

If The Hobbit doesn't equal the achievement of Jackson's earlier Middle-earth movies -- and, honestly, what could? -- it is still, in sum, a thrilling effort.

In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.

Plenty of tech-noir savvy to keep infidels and action fans satisfied.[26 Nov 1984, p. 105]

Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]

A gross-your-eyes-out horror movie that is also the year's most poignant romance.

But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.

A careful, finally powerful film.

The next time you hear a director complain about the studio or his stars or the weather or whatever, think of what Jorgen Leth achieved with Lars von Trier as his boss -- when five obstructions became five splendid opportunities.

No film with an ambition this large, and achievement this impressive, can be anything but exhilarating, a vital affirmation of the creative process.

It is indeed impressive; and we mean not just this solid, satisfying final film - in which the Potter saga reaches its climax, if not quite its emotional apex - but the entirety of producer David Heyman's blockbuster franchise.

His performance is a canny portrait of leadership - part genius, part crazy guts, part dumb luck - and worthy of moving Pitt up to the playoff round of Oscar finalists for Best Actor. We'd put money on it.

Rich in humor, pained or frolicking.

An easy charm, a cleverly unforced sense of humor and a benignity toward all its genially oddball characters. If moviegoers skip this one, they'll be missing a real treat.

Through his art and passion, Stone makes JFK plausible, and turns his thesis of a coup d'etat into fodder for renewed debate.

But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.

Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]

A grand, sprawling entertainment that incites enthrallment for much of its 2 hr. 38 min.

Miss Bala is a tragedy rendered with the savviest, moviewise virtuosity. A young woman's despair, and a nation's, was never so damned entertaining.

The picture packs a wonderful wallop.

It could as well be called Best Thing of Undetermined Species.

Weird, beguiling premise.

A devious mind game, Trance is also the most entertaining smart movie so far this year.

A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.

Beyond the viral ingenuity of the marketing, what's cool about PA is that it's not just a fun thrill ride; it's an instructive artistic experience. A horror-movie revisionist, Peli follows a less-is-more strategy.

Robots goes for a color scheme that is cool, muted, instantly aged. Director Chris Wedge wants the eye to concentrate on the gags he and his writers (including veteran comedy craftsmen Lowell Ganz and Babaloo Mandel) have stuffed into the film.

It stands, soars on its own. It moves to a seductive rhythm and vision.

Diane Keaton, directing her first fictional feature, gets us safely through a movie that could have turned to mush at any moment.

Despite its elements of brutality, this is a buoyant hymn to life, and a movie to celebrate.

Sex, drugs and rack 'n' ruin; pretty people doing nasty things to one another...honestly, what more could you want in a movie?

Chris Paine's documentary makes an unapologetic case for the car and an unofficial indictment of the forces allied against it.

[Pfeiffer & Demme] and a gang of co-stars have created a coherent farce symphony.

To absorb God's body blows, this disquieting, haunting movie says, is to be fully alive. To do otherwise could kill you.

The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.

Orchestrating the efforts of a superb production team — and of the reluctant Mr. Chayefsky — Russell has devised a film experience that will astound some viewers, outrage others and bore nobody. Laugh with it, scream at it, think about it.

A pastiche that's nearly as funny as it is long (2hr. 45min.), and quite as politically troubling as it may be liberating, Django Unchained is pure, if not great, Tarantino.

Fetching little monument to the bard of rapturous bereavement.

She's (Jolie) got what no other Hollywood woman even tries for, and which is embodied among recent international stars perhaps only by Hong Kong action star Michelle Yeoh: feminismo.

Writer-director Ramsay neither sentimentalizes nor garishes up the lost children in this observant and poetic drama.

Damon, beefed up for the occasion, makes Pienaar a stalwart yet courtly figure. Freeman infuses Mandela's speeches with the same gentleness and gravity he's brought to his numerous God roles and the Visa Olympics commercials. But the real deity here is Eastwood, still chugging away handsomely in his 80th year.

Niftily quirky.

It's a real and rare pleasure to see Costner and Duvall together -- these masters of intense passivity, who know how to be watched when they're listening.

Isn't an audience that was nurtured on the doomsday screeds of art-house cinema entitled to vacation in the warmth of a superior film about a boy with almost too many people to love?

Well-made fictions like Fatal Attraction prosper because they seem more persuasive than fact.

No kidding: this is the feel-good movie of the year and a cinematic soul massage.

As director, Farmiga is a strong believer in cinematic democracy, allowing the other actors to seize the center of the action and the frame.

Quite a good movie--a big, fat, rousing, intelligent, daring, retro, many-adjective-requiring entertainment.

This remake hits the jackpot with Wasikowska (pronounced VashiKOVska) and, not far behind, Fassbender.

In this vigorous, stalwart epic, they blend martial breadth and emotional intimacy, honor and obsession, romance and machismo to show the glamour and folly of war.

It's a bright, engaging bauble with half a dozen Elvis Presley songs for Mom and Dad, and just enough sass -- Stitch sticks his tongue into his nose and eats his snot -- to keep the tweeners giggling.

Apt to leave a haunting impression on the children who see it.

Jaden may have to carry the burden of family celebrity, even as he carries his new film. Expertly.