Roger Ebert

The Snapper sees its characters with warmth and acceptance, and earns its laughs by being wise about human nature.

So the movie's flawed. So it leaves us with loose ends and questions. That finally doesn't bother me, because what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, that Network will outlive a lot of tidier movies.

Like the listeners at the feet of a master storyteller, we find ourselves visualizing what Gregory describes, until this film is as filled with visual images as a radio play—more filled, perhaps, than a conventional feature film.

The real reasons to see An American in Paris are for the Kelly dance sequences, the closing ballet, the Gershwin songs, the bright locations, and a few moments of the ineffable, always curiously sad charm of Oscar Levant.

The Secret of the Grain never slows, always engages, may continue too long, but ends too soon. It is made of life itself.

It uses a colorful vocabulary, it contains a lot of energy, it elevates its miserable heroes to the status of icons (in their own eyes, that is).

But I'm making Welcome to the Dollhouse sound like some sort of grim sociological study, and in fact it's a funny, intensely entertaining film.

Episode III has more action per square minute, I'd guess, than any of the previous five movies, and it is spectacular. The special effects are more sophisticated than in the earlier movies, of course, but not necessarily more effective.

The funniest American comedy of the year.

This is a masterful and heartbreaking film, and it does honor to the memory of the victims.

Hitchcock tells the story not so much as the making of the film, but as the behind-the-scenes relationship of Alma and Hitch. This is a disappointment, since I imagine most movie fans will expect more info about the film's production history.

These animals aren't catering to anyone in the audience. We get the feeling they're intensely leading their own lives without slowing down for ours.

If you have seen the masterful 2002 Brazilian film "City of God" or the 1981 film "Pixote," both about the culture of Rio's street people, then Bus 174 plays like a sad and angry real-life sequel.

Amores Perros will be too much for some filmgoers, just as "Pulp Fiction" was and "Santa Sangre" certainly was, but it contains the spark of inspiration.

Brave dissenting Islamic filmmakers are risking their lives to tell the story of the persecution of women, and it is a story worth knowing, and mourning.

The result is that we feel deliberately distanced from the film. It is not so much an exercise in style as an exercise in search of a style. The story doesn't involve us because we can't follow it, and we doubt if the characters can, either.

It's a high-gloss version of a Hong Kong action picture, made in America but observing the exuberance of a genre where surfaces are everything.

Although Clockers is... a murder mystery, in solving its murder, it doesn't even begin to find a solution to the system that led to the murder. That is the point.

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.

It's a movie based on an idea, and all the conventional wisdom agrees that emotions, not ideas, are the best to make movies from. But Being There pulls off its long shot and is one of the most confoundingly provocative movies of the year.

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

Now we have an American film with the raw power of “City of God” or “Pixote,” a film that does something unexpected, and inspired, and brave.

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

Last Chance Harvey is a tremendously appealing love story surrounded by a movie not worthy of it.

It's the kind of movie you know you can trust, and you give yourself over to affection for these characters who are so lovingly observed.

Not the macabre horror story the title suggests, but a sweet and visually lovely tale of love lost.