Roger Ebert

I enjoyed The Truman Show on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.

I don't know when I've seen a thriller more frightening. I couldn't tear my eyes from the screen. Collapse is even entertaining, in a macabre sense. I think you owe it to yourself to see it.

Some kind of sweet, wacky masterpiece.

Like "Citizen Kane," Pulp Fiction is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next.

The style here is so seductive and witty it's hard to pin down. It's like nothing else I've seen by Hill, and at times, it almost reminds me of Jacques Tati crossed with Robert Altman. It's good to get a crime movie more concerned with humor and character than with blood and gore; here's one, as we say, for the whole family.

The movie belongs to Finney, but mention must be made of Jacqueline Bisset as his wife and Anthony Andrews as his half-brother. Their treatment of the consul is interesting. They understand him well.

As a thriller, Munich is efficient, absorbing, effective. As an ethical argument, it is haunting.

This movie moves so confidently and looks so good it seems incredible that it's a directorial debut.

Not just a thriller, not just a social commentary, not just a comedy or a romance, but all of those in a clearly seen, brilliantly made film.

Is the film watchable? Yes, compulsively.

A film of haunting mystery and buried sexual hysteria.

Dawn of the Dead is one of the best horror films ever made -- and, as an inescapable result, one of the most horrifying. It is gruesome, sickening, disgusting, violent, brutal and appalling. It is also (excuse me for a second while I find my other list) brilliantly crafted, funny, droll, and savagely merciless in its satiric view of the American consumer society. Nobody ever said art had to be in good taste.

Here is a film so placid and filled with sweetness that watching it is like listening to soothing music.

Many of the scenes in No Country for Old Men are so flawlessly constructed that you want them to simply continue, and yet they create an emotional suction drawing you to the next scene. Another movie that made me feel that way was "Fargo." To make one such film is a miracle. Here is another.

It moves with a majestic pacing over the affairs of four generations, demonstrating that the sins of the fathers are visited upon the children.

Walt Disney's The Little Mermaid is a jolly and inventive animated fantasy - a movie that's so creative and so much fun it deserves comparison with the best Disney work of the past.

It’s not easy to make comedies that work as drama, too. But Carney’s acting is so perceptive that it helps this material succeed.

A Room with a View enjoys its storytelling so much that I enjoyed the very process of it. The story moved slowly, it seemed, for the same reason you try to make ice cream last: because it's so good.

The movie subtly darkens its tone until, when the horrifying ending arrives, we can see how we got there. There is a final shot that would get laughs in another kind of film, but May earns the right to it, and it works, and we understand it.

An endlessly surprising, very dark, human comedy, with a plot that cannot be foreseen but only relished.

This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place.

A grand, romantic life story about love, loss, regret and the sadness that can be evoked by a violin - not only through music, but through the instrument itself. It is all melancholy and loss, and delightfully comedic, with enough but not too much magic realism. The story as it stands could be the scenario for an opera.

King of the Hill could have been a family picture, or a heartwarming TV docudrama, or a comedy. Soderbergh must have seen more deeply into the Hotchner memoir, however, because his movie is not simply about what happens to the kid. It's about how the kid learns and grows through his experiences.

Stagecoach holds our attention effortlessly and is paced with the elegance of a symphony.

What a simple and yet profound story this is.

The first shot tells us 45365 is the zip code of the town." In this achingly beautiful film, that zip code belongs to Sidney, Ohio, a handsome town of about 20,000 residents.

The movie's ending is a little too neat for my taste. But in a movie like this, everything depends on atmosphere and character, and "Mona Lisa" knows exactly what it is doing.

Wolfgang Petersen's direction is an exercise in pure craftsmanship. [Director's Cut]