Roger Ebert

Few achievements in the world of cinema can equal it.

Martin Scorsese’s Mean Streets isn’t so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment.

If I were asked to name the single scene in all of romantic comedy that was sexiest and funniest at the same time, I would advise beginning at six seconds past the 20-minute mark in Preston Sturges' The Lady Eve, and watching as Barbara Stanwyck toys with Henry Fonda's hair in an unbroken shot that lasts three minutes and 51 seconds.

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.

Throughout Fantasia, Disney pushes the edges of the envelope.

Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too.

It's satirical, exciting, funny, and an influential masterpiece of art direction.

Nicolas Roeg’s 1973 film remains one of the great horror masterpieces, working not with fright, which is easy, but with dread, grief and apprehension.

We feel for once we are witnessing the true story of how a movie got made.

David Fincher's film has the rare quality of being not only as smart as its brilliant hero, but in the same way. It is cocksure, impatient, cold, exciting and instinctively perceptive.

What distinguishes My Fair Lady above all is that it actually says something. It says it in a film of pointed words, unforgettable music and glorious images, but it says it.

The remarkable thing about Wadleigh's film is that it succeeds so completely in making us feel how it must have been to be there. [2005]

An unexpected kind of masterpiece by Haneke, whose films have included the enigmatic "Caché" and the earlier Golden Palm winner "The White Ribbon." We don't expect such unflinching seriousness, such profundity from Haneke.

A great film, an intelligent film, a film shot clearly so that we know exactly who everybody is and where they are and what they’re doing and why.

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.

Do we want to know more about Osama bin Laden and al Qaida and the history and political grievances behind them? Yes, but that's not how things turned out. Sorry, but there you have it.

The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.

To describe the story is to miss the nuances that make it tantalizing.

The more you consider Sunrise the deeper it becomes -- not because the story grows any more subtle, but because you realize the real subject is the horror beneath the surface.

The movie is made with boundless energy. Fellini stood here at the dividing point between the neorealism of his earlier films (like "La Strada") and the carnival visuals of his extravagant later ones ("Juliet of the Spirits," "Amarcord'').

The film has many virtues, but for me the most enchanting is simply the lust with which it depicts a bold and colorful era in history.

What is most amazing about this film is how completely Spielberg serves his story. The movie is brilliantly acted, written, directed and seen. Individual scenes are masterpieces of art direction, cinematography, special effects, crowd control.

Succeeds at being three things at once: an enthralling animated film, a visual wonderment and a decent science-fiction story.

Robocop is a thriller with a difference.

In a few characters and a gripping story, Ford dramatizes the debate about guns that still continues in many Western states. That he does this by mixing in history, humorous supporting characters and a poignant romance is typical; his films were complete and self-contained in a way that approaches perfection. Without ever seeming to hurry, he doesn't include a single gratuitous shot.

The Searchers contains scenes of magnificence, and one of John Wayne's best performances.

The film can be seen as a series of his failed attempts to connect, every one of them hopelessly wrong.... This utter aloneness is at the center of Taxi Driver, one of the best and most powerful of all films, and perhaps it is why so many people connect with it even though Travis Bickle would seem to be the most alienating of movie heroes. We have all felt as alone as Travis. Most of us are better at dealing with it. [20th Anniversary Release]

Only rarely is a film this observant and tender about the ups and downs of daily existence.