Roger Ebert

Trucker sets out on a difficult and tricky path, and doesn't put a foot wrong.

The directness of The Seventh Seal is its strength: This is an uncompromising film, regarding good and evil with the same simplicity and faith as its hero.

The genius of Bob and Carol and Ted and Alice is that it understands the peculiar nature of the moral crisis for Americans in this age group, and understands that the way to consider it is in a comedy.

This is a powerful film and a stark visual accomplishment, but no thanks to Gabita (Laura Vasiliu). The driving character is her roommate Otilia (Anamaria Marinca), who does all the heavy lifting.

Doubt has exact and merciless writing, powerful performances and timeless relevance. It causes us to start thinking with the first shot, and we never stop. Think how rare that is in a film.

A masterpiece of heartbreaking intensity.

To modern audiences, raised on films where emotion is conveyed by dialogue and action more than by faces, a film like The Passion of Joan of Arc is an unsettling experience--so intimate we fear we will discover more secrets than we desire.

Movies about high school misfits are common; this is an uncommon one. Terri, so convincingly played by Jacob Wysocki, is smart, gentle and instinctively wise.

The great performances in the movie are, of course, at its center. Gary Oldman plays Orton and Alfred Molina plays Halliwell, and these are two of the best performances of the year.

A film like "Hoop Dreams" is what the movies are for. It takes us, shakes us, and make us think in new ways about the world around us. It gives us the impression of having touched life itself.

This is a breathless, exciting story, heartbreaking and exhilarating at the same time.

The movie is a satire that contains just enough realistic ballast to be teasingly plausible; like "Dr. Strangelove," it makes you laugh, and then it makes you wonder.

Donald Sutherland is perfectly cast and quietly effective as a man who will not be turned aside, who does not wish misfortune upon himself or his family, but cannot ignore what has happened to the family of his friend.

Have I mentioned A Serious Man is so rich and funny? This isn't a laugh-laugh movie, but a wince-wince movie. Those can be funny too.

What makes Atlantic City sweet -- and that's the word for it -- is the gentleness with which Lou handles his last chance at amounting to something, and the wisdom with which Sally handles Lou.

Against the overarching facts of his personal magnetism and the blind loyalty of his lieutenants, the movie observes the workings of the world within the bunker. All power flowed from Hitler. He was evil, mad, ill, but long after Hitler's war was lost he continued to wage it in fantasy.

It is Inherit the Wind among all of Kramer's films that seems most relevant and still generates controversy.

Breathless remains a living movie that retains the power to surprise and involve us after all these years.

Here is a small film to treasure, a loving, funny, understated portrait of a small Scottish town and its encounter with a giant oil company.

Ron Howard's Parenthood is a delicate balancing act between comedy and truth, a movie that contains a lot of laughter and yet is more concerned with character than punch lines.

One of the most remarkable and haunting documentaries ever made.

With access to remarkable archival footage, old TV shows, home movies and the family photo album, Brown weaves together the story of the Seegers with testimony by admirers who represent his influence and legacy.

The movie is astonishingly beautiful. The cinematography is by Bergman's longtime collaborator Sven Nykvist.

This is one of the funniest movies ever made. To see it now is to understand that. To see it for the first time in 1968, when I did, was to witness audacity so liberating that not even "There's Something About Mary" rivals it.

It is as assured and flawless a telling of sadness and joy as I have ever seen.

A truly original American movie, a film like no other, a period of time spent in the company of the kinds of characters Saroyan and O'Neill would have understood, the kinds of people we try not to see, and yet might enjoy more than some of our more visible friends.

It's pure cinema, spread over several genres. It's a caper movie, a gangster movie, a sex movie and a slapstick comedy.

Soderbergh's story, from a screenplay by Stephen Gaghan, cuts between these characters so smoothly that even a fairly complex scenario remains clear and charged with tension.