Roger Ebert

Samurai Rebellion can be seen as a statement against the conformity that remained central in Japanese life long after this period. It is the story of three people who learn to become individuals.

It's one of the smartest and most merciless comedies to come along in a while. It centers on an area of fairly narrow interest, but in its study of human nature, it is deep and takes no prisoners.

There are scenes as true as movies can make them, and even when the story develops thriller elements, they are redeemed, because the movie isn't about what happens, but about why.

Brother's Keeper, the year's best documentary, has an impact and immediacy that most fiction films can only envy. It tells a strong story, and some passages are truly inspirational, as the neighbors of Munnsville become determined that Delbert will not be railroaded by some ambitious prosecutor more concerned with bringing charges than with understanding the reality of the situation.

Chariots of Fire is one of the best films of recent years, a memory of a time when men still believed you could win a race if only you wanted to badly enough.

After "Monster," here is another extraordinary role from an actress [Theron] who has the beauty of a fashion model but has found resources within herself for these powerful roles about unglamorous women in the world of men.

The movie is a work of art and whimsy as much as one of science.

What a bewilderingly brilliant and entertaining movie this is.

Juan Jose Campanella is the writer-director, and here is a man who creates a complete, engrossing, lovingly crafted film. He is filled with his stories. The Secret in Their Eyes is a rebuke to formula screenplays. We grow to know the characters, and the story pays due respect to their complexities and needs.

Ballast inexorably grows and deepens and gathers power and absorbs us. I always say I hardly ever cry at sad films, but I sometimes do, just a little, at films about good people.

Here is a director taking audacious chances, doing wild and unpredictable things with his camera and actors, just to celebrate moviemaking.

High Hopes is an alive and challenging film, one that throws our own assumptions and evasions back at us. Leigh sees his characters and their lifestyles so vividly, so mercilessly and with such a sharp satirical edge, that the movie achieves a neat trick: We start by laughing at the others, and end by feeling uncomfortable about ourselves.

Here is a movie that knows its women, listens to them, doesn't give them a pass, allows them to be real: It's a rebuke to the shallow "Ya-Ya Sisterhood."

It is one of the great film noirs, a black-and-white symphony that exactly reproduces Chandler's ability, on the page, to find a tone of voice that keeps its distance, and yet is wry and humorous and cares.

This is Mike Leigh's funniest film since "Life Is Sweet" (1991). Of course he hasn't ever made a completely funny film, and Happy-Go-Lucky has scenes that are not funny, not at all.

This is another masterwork from Pixar, which is leading the charge in modern animation.

The movie plays like a textbook for directors interested in how lens choices affect mood.

It's one of those ageless movies, like "Casablanca" or "The Third Man," that improves with age. Some movies, even good ones, should only be seen once. When we know how they turn out, they've surrendered their mystery and appeal. Other movies can be viewed an indefinite number of times. Like great music, they improve with familiarity. It's a Wonderful Life falls in the second category.

John Huston's The Man Who Would Be King is swashbuckling adventure, pure and simple, from the hand of a master. It's unabashed and thrilling and fun.

The documentary is an uncommon meeting between Treadwell's loony idealism, and Herzog's bleak worldview.

Burden of Dreams gives us an extraordinary portrait of Herzog trapped in the middle of one of his wildest dreams.

The movie is genuinely exciting and romantic, great to look at, and timeless.

Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.

Putty Hill makes no statement. It looks. It looks with as much perception and sympathy as it is possible for a film to look. It is surprisingly effective.

Campbell's performance is carnal, verbally facile, physically uninhibited and charged with intelligence.

The wedding sequence... is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.

Rear Window lovingly invests in suspense all through the film, banking it in our memory, so that when the final payoff arrives, the whole film has been the thriller equivalent of foreplay.

This is a great act of filmmaking and acting. I don't believe I would be able to see it twice.