Roger Ebert

West Side Story remains a landmark of musical history. But if the drama had been as edgy as the choreography, if the lead performances had matched Moreno's fierce concentration, if the gangs had been more dangerous and less like bad-boy Archies and Jugheads, if the ending had delivered on the pathos and tragedy of the original, there's no telling what might have resulted.

This is Rourke doing astonishing physical acting.

The Leopard was written by the only man who could have written it, directed by the only man who could have directed it, and stars the only man who could have played its title character.

Shane wears a white hat and Palance wears a black hat, but the buried psychology of this movie is a mottled, uneasy, fascinating gray.

The movie has never really been about gold but about character, and Bogart fearlessly makes Fred C. Dobbs into a pathetic, frightened, selfish man -- so sick we would be tempted to pity him, if he were not so undeserving of pity.

Andrea Yates believed she was possessed by Satan and could save her children by drowning them. Frailty is as chilling.

What's best about the movie is that it considers interesting adults--young and old--in an intelligent manner. After it's over we almost feel relief; there are so many movies about clods reacting moronically to romantic and/or violent situations. But we hardly ever get movies about people who seem engaging enough to spend half an hour talking with (what would you say to Charles Bronson?). Here's one that works.

McQueen is great in Bullitt, and the movie is great, because director Peter Yates understands the McQueen image and works within it. He winds up with about the best action movie of recent years.

This is one of the best films of the year, an unflinching lament for the human condition.

You may have heard that Lorenzo's Oil is a harrowing movie experience. It is, but in the best way. It takes a heartbreaking story and pushes it to the limit, showing us the lengths of courage and imagination that people can summon when they must.

A superb crime melodrama.

Runaway Train is a reminder that the great adventures are great because they happen to people we care about.

What we sense after the film is that the natural sources of pleasure have been replaced with higher-octane substitutes, which have burnt out the ability to feel joy.

[Kurosawa] was deliberately combining the samurai story with the Western, so that the wind-swept main street could be in any frontier town, the samurai (Toshiro Mifune) could be a gunslinger, and the local characters could have been lifted from John Ford's gallery of supporting actors.

Instead of plot it has a cascade of incidents, instead of central characters it has a cast of hundreds, instead of being a comedy it is a wondrous act of observation. It occupies no genre and does not create a new one. It is a filmmaker showing us how his mind processes the world around him.

There is one cool, understated scene after another.

One of the best qualities of Map of the Human Heart was that I never quite knew where it was going. It is a love story, a war story, a lifetime story, but it manages to traverse all of that familiar terrain without doing the anticipated.

The greatest of all the Dickens films, and which does what few movies based on great books can do: Creates pictures on the screen that do not clash with the images already existing in our minds.

Ron Howard's film of this mission is directed with a single-mindedness and attention to detail that makes it riveting.

Haggis writes with such directness and such a good ear for everyday speech that the characters seem real and plausible after only a few words. His cast is uniformly strong; the actors sidestep cliches and make their characters particular.

This is a dark, dark, dark film, focused on an obsession so complete and lonely it shuts out all other human experience. You may not savor it, but you will not stop watching it, in horror and fascination.

There are great performances in the central roles. Phoenix essentially carries the story; it's about him. Lahti and Hill have that shattering scene together. And Lahti and Hirsch, huddled together in bed, fearfully realizing that they may have come to a crossroads, are touching; we see how they've depended on each other. This is one of the best films of the year.

The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord'').

The characters are played not by the first actors you would think of casting, but by actors who will prevent you from ever being able to imagine anyone else in their roles.

If you are squeamish, here is the film to make you squeam.

Pollock is confident, insightful work--one of the year's best films.

The movie's strength and weakness is Anne Baxter, whose Eve lacks the presence to be a plausible rival to Margo, but is convincing as the scheming fan. When Eve understudies for Margo and gets great reviews, Mankiewicz wisely never shows us her performance; better to imagine it, and focus on the girl whose look is a little too intense, whose eyes a little too focused, whose modesty is somehow suspect.

You savor every moment of Jackie Brown. Those who say it is too long have developed cinematic attention deficit disorder. I wanted these characters to live, talk, deceive and scheme for hours and hours.

One of the risks taken by The Killing Fields is to cut loose from that tradition, to tell us a story that does not have a traditional Hollywood structure, and to trust that we'll find the characters so interesting that we won't miss the cliché. It is a risk that works, and that helps make this into a really affecting experience.

Kramer vs. Kramer is a movie of good performances, and it had to be, because the performances can't rest on conventional melodrama.

The movie is vulgar, raunchy, ribald, and occasionally scatological. It is also the funniest comedy since Mel Brooks made "The Producers."

This film is a wonder - the best work yet by one of our most original and independent filmmakers - and after it is over, and you begin to think about it, its meanings begin to flower.

This is the first film to approach the subject of "undocumented workers" solely through their eyes. This is not one of those docudramas where we half-expect a test at the end, but a film like "The Grapes of Wrath" that gets inside the hearts of its characters and lives with them.

David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot.

This is not your average family cartoon. Shrek is jolly and wicked, filled with sly in-jokes and yet somehow possessing a heart.

Seen after 30 years, Dr. Strangelove seems remarkably fresh and undated - a clear-eyed, irreverant, dangerous satire. And its willingness to follow the situation to its logical conclusion - nuclear annihilation - has a purity that today's lily-livered happy-ending technicians would probably find a way around.

Here is a tense and sorrowful film where common sense struggles with blood lust.

A searing portrait of the human condition. [12 Oct 2007, p.B6]

Blake Edwards's "10" is perhaps the first comedy about terminal yearning. Like all great comedies, it deals with emotions very close to our hearts: In this case, the unutterable poignance of a man's desire for a woman he cannot have.

The film is masterful in its control of acting and visual style.

A magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers.

This film is joyous, but more than that: It's lovely in its construction. The director, Prashant Bhargava, born and raised on Chicago's South Side, knows what his basic story line is, but reveals it subtly.

One of the best police movies in recent years, a virtuoso fusion of performances and often startling action.

It's rare to get a good movie about the touchy adult relationship of a sister and brother. Rarer still for the director to be more fascinated by the process than the outcome. This is one of the best movies of the year.

It "explains" nothing but feels everything. It reminds me of two other films: Bresson's "Mouchette," about a poor girl victimized by a village, and Karen Gehre's "Begging Naked," shown at Ebertfest this year, about a woman whose art is prized even as she lives in Central Park.

What makes Psycho immortal, when so many films are already half-forgotten as we leave the theater, is that it connects directly with our fears: Our fears that we might impulsively commit a crime, our fears of the police, our fears of becoming the victim of a madman, and of course our fears of disappointing our mothers.

A movie that you might want to see for no other reason than because it exists. There will never be another like it.

An exhilarating visual experience and proves for the third time he's (Zemeck) is one of the few directors who knows what he's doing with 3-D.

Here is a gripping film with the focus of a Japanese drama, an impenetrable character to equal Alain Delon's in "Le Samourai," by Jean-Pierre Melville.

Samurai Rebellion can be seen as a statement against the conformity that remained central in Japanese life long after this period. It is the story of three people who learn to become individuals.

It's one of the smartest and most merciless comedies to come along in a while. It centers on an area of fairly narrow interest, but in its study of human nature, it is deep and takes no prisoners.

There are scenes as true as movies can make them, and even when the story develops thriller elements, they are redeemed, because the movie isn't about what happens, but about why.

Brother's Keeper, the year's best documentary, has an impact and immediacy that most fiction films can only envy. It tells a strong story, and some passages are truly inspirational, as the neighbors of Munnsville become determined that Delbert will not be railroaded by some ambitious prosecutor more concerned with bringing charges than with understanding the reality of the situation.

Chariots of Fire is one of the best films of recent years, a memory of a time when men still believed you could win a race if only you wanted to badly enough.

After "Monster," here is another extraordinary role from an actress [Theron] who has the beauty of a fashion model but has found resources within herself for these powerful roles about unglamorous women in the world of men.

The movie is a work of art and whimsy as much as one of science.

What a bewilderingly brilliant and entertaining movie this is.

Juan Jose Campanella is the writer-director, and here is a man who creates a complete, engrossing, lovingly crafted film. He is filled with his stories. The Secret in Their Eyes is a rebuke to formula screenplays. We grow to know the characters, and the story pays due respect to their complexities and needs.

Ballast inexorably grows and deepens and gathers power and absorbs us. I always say I hardly ever cry at sad films, but I sometimes do, just a little, at films about good people.

Here is a director taking audacious chances, doing wild and unpredictable things with his camera and actors, just to celebrate moviemaking.

High Hopes is an alive and challenging film, one that throws our own assumptions and evasions back at us. Leigh sees his characters and their lifestyles so vividly, so mercilessly and with such a sharp satirical edge, that the movie achieves a neat trick: We start by laughing at the others, and end by feeling uncomfortable about ourselves.

Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow "Ya-Ya Sisterhood."

It is one of the great film noirs, a black-and-white symphony that exactly reproduces Chandler's ability, on the page, to find a tone of voice that keeps its distance, and yet is wry and humorous and cares.

This is Mike Leigh's funniest film since "Life Is Sweet" (1991). Of course he hasn't ever made a completely funny film, and Happy-Go-Lucky has scenes that are not funny, not at all.

This is another masterwork from Pixar, which is leading the charge in modern animation.

The movie plays like a textbook for directors interested in how lens choices affect mood.

It's one of those ageless movies, like "Casablanca" or "The Third Man," that improves with age. Some movies, even good ones, should only be seen once. When we know how they turn out, they've surrendered their mystery and appeal. Other movies can be viewed an indefinite number of times. Like great music, they improve with familiarity. It's a Wonderful Life falls in the second category.

John Huston's The Man Who Would Be King is swashbuckling adventure, pure and simple, from the hand of a master. It's unabashed and thrilling and fun.

The documentary is an uncommon meeting between Treadwell's loony idealism, and Herzog's bleak worldview.

Burden of Dreams gives us an extraordinary portrait of Herzog trapped in the middle of one of his wildest dreams.

The movie is genuinely exciting and romantic, great to look at, and timeless.

Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.

Putty Hill makes no statement. It looks. It looks with as much perception and sympathy as it is possible for a film to look. It is surprisingly effective.

Campbell's performance is carnal, verbally facile, physically uninhibited and charged with intelligence.

The wedding sequence... is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.

Rear Window lovingly invests in suspense all through the film, banking it in our memory, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay.

This is a great act of filmmaking and acting. I don't believe I would be able to see it twice.

In America is not unsentimental about its new arrivals (the movie has a warm heart and frankly wants to move us), but it is perceptive about the countless ways in which it is hard to be poor and a stranger in a new land.

I liked these characters precisely because they were not designed to be likable -- or, more precisely, because they were likable in spite of being exasperating, unorganized, self-destructive and impervious to good advice.

Above all one of the most beautiful films ever made. Malick's purpose is not to tell a story of melodrama, but one of loss. His tone is elegiac. He evokes the loneliness and beauty of the limitless Texas prairie. [7 Dec. 1997]

The remarkable thing about Wadleigh's film is that it succeeds so completely in making us feel how it must have been to be there. [2005]

The trouble with Funny Girl is almost everything except Barbra Streisand. She is magnificent.

The movie is funny, but it's more than funny, it's exhilarating.

A powerful but quiet film, constructed of hidden thoughts and secret desires.

The movie is so accurately acted, especially by Jim Metzler as Mason and Matt Dillon as Tex, that we care more about the characters than about the plot. We can see them learning and growing, and when they have a heart-to-heart talk about going all the way, we hear authentic teenagers speaking, not kids who seem to have been raised at Beverly Hills cocktail parties.

Warren Beatty's production of Dick Tracy approaches the material with the same fetishistic glee I felt when I was reading the strip.

You do not need to know a lot about jazz to appreciate what is going on because, in a certain sense, this movie teaches you everything about jazz that you really need to know.

He’s a real smoothie, Warren Beatty, and when he plays one in a movie he is almost always effective. But his title role in Bugsy is more than effective, it’s perfect for him - showing a man who not only creates a seductive vision, but falls in love with it himself.

It is a spellbinding enigma, and one of the damnedest films Morris has ever made.

The Band’s Visit has not provided any of the narrative payoffs we might have expected, but has provided something more valuable: An interlude involving two “enemies,” Arabs and Israelis, that shows them both as only ordinary people with ordinary hopes, lives and disappointments. It has also shown us two souls with rare beauty.

No one is better at this kind of performance than Nicolas Cage. He's a fearless actor. He doesn't care if you think he goes over the top. If a film calls for it, he will crawl to the top hand over hand with bleeding fingernails.

Finian's Rainbow is the best of the recent roadshow musicals, perhaps because it's the first to cope successfully with the longer roadshow form.

This is one of those rare docs, like "Hoop Dreams," where life provides a better ending than the filmmakers could have hoped for. Also like "Hoop Dreams," it's not really a sports film; it's a film that uses sport as a way to see into lives, hopes and fears.

Scorsese tells his story with the energy and pacing he's famous for, and with a wealth of little details that feel just right.

Up in the Air takes the trust people once had in their jobs and pulls out the rug. It is a film for this time.

Jules and Jim is one of those rare films that knows how fast audiences can think, and how emotions contain their own explanations

Here is a searing film of human tragedy.