Roger Ebert

Some kind of weird masterpiece...one of the best movies of the year.

This is a film with a dread fascination. McKellen occupies it like a poisonous spider in its nest.

What the film is really about is people who see themselves and their values as an organic whole. There are no pious displays here. No sanctimony, no preaching. Never even the word "religion." Just Johan, Esther and Marianne, all doing their best.

One of those entertainments where you laugh a lot along the way, and then you end up on the edge of your seat at the end.

One of the fundamental landmarks of cinema.

A wild elaboration. If you have never seen a Japanese anime, start here. If you love them, Metropolis proves you are right.

One of the purest and most uncompromising of modern films noir. It captures above all the lonely, exhausted lives of its characters.

I have seen love scenes in which naked bodies thrash in sweaty passion, but I have rarely seen them more passionate than in this movie, where everyone is wrapped in layers of Victorian repression.

This film ennobles filmmaking.

It fascinates in the moment. It's getting from one moment to the next that is tricky. Surely this is one of the most ambitious films ever made.

The fact that David Helfgott lived the outlines of these events--that he triumphed, that he fell, that he came slowly back--adds an enormous weight of meaning to the film.

This is the kind of movie Frank Capra might have directed, and James Stewart might have starred in - a movie about dreams.

A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.

Two men, barely 10 years apart in age, one with a lifetime of emptiness ahead of him, one with an empty lifetime already behind. This is what John Huston has to work with in Fat City and he treats it with a level, unsentimental honesty and makes it into one of his best films.

Starting with Le Petit Soldat, Godard was forging his own individualistic art and becoming the most relevant director of our time.

Maborosi is one of those valuable films where you have to actively place yourself in the character's mind. There are times when we do not know what she is thinking, but we are inspired with an active sympathy. We want to understand. Well, so does she.

Oslo, August 31st is quietly, profoundly, one of the most observant and sympathetic films I've seen.

Argo the real movie about the fake movie, is both spellbinding and surprisingly funny.

This is a film for intelligent people who are naturally curious about what happens when the shutters close.

I swear to you that if you live in a place where this film is playing, it is the best film in town.

It is refreshing to see Cruz acting in the culture and language that is her own. As it did with Sophia Loren in the 1950s, Hollywood has tried to force Cruz into a series of show-biz categories, when she is obviously most at home playing a woman like the ones she knew, grew up with, could have become.

This time the dad is the hero of the story, although in most animation it is almost always the mother.

This happens in 1961, when 16-year-old girls were a great deal less knowing than they are now. Yet the movie isn't shabby or painful, but romantic and wonderfully entertaining.

The film's extended suspense sequences deserve a place among the great stretches of cinema.

There are scenes here that are funnier than those of any other movie this year, and other scenes that weep with the pain of sad family secrets, and when it's over we have seen some kind of masterpiece. This is one of the best films of the year.

In its warmth and in its enchantment, as well as in its laughs, this is the best comedy in a long time.

Not many movies know that truth. Moonlight Mile is based on it.

This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.