Roger Ebert

Put the two parts together, and Tarantino has made a masterful saga that celebrates the martial arts genre while kidding it, loving it, and transcending it.

The most accurate movie about campus life that I can remember.

It takes on the resonance of classic tragedy. Tragedy requires the fall of a hero, and one of the achievements of Nixon is to show that greatness was within his reach.

No Way Out is a superior example of the genre, a film in which a simple situation grows more and more complex until it turns into a nightmare not only for the hero but also for everyone associated with him. At the same time, it respects the audience's intelligence, gives us a great deal of information, trusts us to put it together and makes the intellectual analysis of the situation one of the movie's great pleasures.

Goodbye, Mr. Chips uses its budget quietly, with good taste, and succeeds in being a big movie without being a gross one. I think I enjoyed it about as much as any road show since Funny Girl.

Like Water for Chocolate creates its own intense world of passion and romance, and adds a little comedy and a lot of quail, garlic, honey, chiles, mole, cilantro, rose petals and corn meal.

It is a film with a political point of view, but often its characters lose sight of that, in their fascination with each other and with the girl.

'Return of the Jedi' is fun, magnificent fun. The movie is a complete entertainment, a feast for the eyes and a delight for the fancy. It's a little amazing how Lucas and his associates keep topping themselves.

David Schwimmer has made one of the year's best films: Powerfully emotional, yes, but also very perceptive.

A documentary of a time that began in 1929 and seemed to end only yesterday, and a eulogy for an art form that will never be again.

They are adults, for the most part outside organized religion, faced with situations in their own lives that require them to make moral choices. You shouldn’t watch the films all at once, but one at a time. Then if you are lucky and have someone to talk with, you discuss them, and learn about yourself. Or if you are alone, you discuss them with yourself, as so many of Kieslowski’s characters do.

A smart, intense and moving film that isn't so much about sports as about the war between intuition and statistics. I walked in knowing what the movie was about, but unprepared for its intelligence and depth.

That could have been a good movie, but predictable. Mike Nichols' Silkwood is not predictable.... We realize this is a lot more movie than perhaps we were expecting.

What is important about this film is not that it serves as a history lesson (although it does) but that, at a time when the threat of nuclear holocaust hangs ominously in the air, it reminds us that we are, after all, human, and thus capable of the most extraordinary and wonderful achievements, simply through the use of our imagination, our will, and our sense of right.

Willy Wonka and the Chocolate Factory is probably the best film of its sort since The Wizard of Oz. It is everything that family movies usually claim to be, but aren't: Delightful, funny, scary, exciting, and, most of all, a genuine work of imagination. Willy Wonka is such a surely and wonderfully spun fantasy that it works on all kinds of minds, and it is fascinating because, like all classic fantasy, it is fascinated with itself.

A family film of limitless imagination and surprising joy.

One of the greatest of all American films, but has never received the attention it deserves because of its lack of the proper trappings. Many "great movies'' are by great directors, but Laughton directed only this one film, which was a critical and commercial failure long overshadowed by his acting career.

Annie Hall is a movie about a man who is always looking for the loopholes in perfection. Who can turn everything into a joke, and wishes he couldn't.

Spacey, an actor who embodies intelligence in his eyes and voice, is the right choice for Lester Burnham.

Sunset Boulevard remains the best drama ever made about the movies because it sees through the illusions, even if Norma doesn't.

Robert Altman’s The Long Goodbye attacks film noir with three of his most cherished tools: Whimsy, spontaneity and narrative perversity.

Powerfully, painfully honest.

The other key character is McCarthy himself, and Clooney uses a masterstroke: He employs actual news footage of McCarthy, who therefore plays himself.

Leconte brings his film to transcendent closure without relying on stale plot devices or the clanking of the plot. He resorts to a kind of poetry. After the film is over, you want to sigh with joy, that in this rude world such civilization is still possible.

You hire an actor for his strengths, and Downey would not be strong as a one-dimensional mighty-man. He is strong because he is smart, quick and funny, and because we sense his public persona masks deep private wounds. By building on that, Favreau found his movie, and it's a good one.

The Hustler is one of those films where scenes have such psychic weight that they grow in our memories. That's true of the matches between Eddie and Fats.

A movie for more than one season; it will become a perennial, shared by the generations. It has a haunting, magical quality because it has imagined its world freshly and played true to it,

At a time when digital techniques can show us almost anything, The Blair Witch Project is a reminder that what really scares us is the stuff we can't see.