Roger Ebert

Lumbers a little on its way to a preordained conclusion, but is intriguing for its glimpses of backstage life in shabby German postwar vaudeville, and for Dietrich's performance, which seems to float above the action as if she's stepping fastidiously across gutters.

The most painful and heartrending portrait of jealousy in the cinema--an "Othello'' for our times.

Franju constructs an elegant visual work; here is a horror movie in which the shrieks are not by the characters but by the images.

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

By the end of Capturing the Friedmans, we have more information, from both inside and outside the family, than we dreamed would be possible. We have many people telling us exactly what happened. And we have no idea of the truth. None.

Intended as a thriller of sorts, although Antonioni is, as always, too deeply involved in the angst of his characters to bother much with the story. (Review of Original Release)

If I were asked to say with certainty which movies will still be widely known a century or two from now, I would list "2001,'' "The Wizard of Oz,'' Keaton and Chaplin, Astaire and Rogers, and probably "Casablanca'' ... and "Star Wars,'' for sure.

While so many films about coming of age involve manufactured dilemmas, here is one about a woman who indeed does come of age, and magnificently.

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.

It is not an anti-war film. It is not a pro-war film. It is one of the most emotionally shattering films ever made.

Despite jumping through the deliberately disorienting hoops of its story, Eternal Sunshine has an emotional center, and that's what makes it work.

It is a luxury to be enveloped in a good 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.

A powerful but quiet film, constructed of hidden thoughts and secret desires.

What I liked about Two-Lane Blacktop was the sense of life that occasionally sneaked through, particularly in the character of G.T.O. (Warren Oates).

Forget about the plot, the characters, the intrigue, which are all splendid in House of Flying Daggers, and focus just on the visuals.

Like all good directors who make films about their own obsessions, Petri transmits an obsessive feeling in the film itself. "Investigation of a Citizen" is stylistically disconnected, but it works because it is absolutely fascinated with the nature of the inspector.

There are shadings of comic meaning that could have gotten lost if all we had were the words, and there are whole scenes that play off facial expressions. It's a good movie to watch just for that reason, because it's been done with such care, love and lunacy.

A film of remarkable sensitivity and insight.

Man on Wire is about the vanquishing of the towers by bravery and joy, not by terrorism.

Has a good heart and some fine performances, but is too muddled at the story level to involve us emotionally.

One of those movies where "after that summer, nothing would ever be the same again." Yes, but it redefines "nothing."

Painful family issues are more likely to stay beneath the surface, known to everyone but not spoken of. Still Walking, a magnificent new film from Japan, is very wise about that, and very true.

Sarandon and Davis find in Callie Khouri’s script the materials for two plausible, convincing, lovable characters. And as actors they work together like a high-wire team, walking across even the most hazardous scenes without putting a foot wrong.

After Hours is a brilliant film that is so original, so particular, that we are uncertain from moment to moment exactly how to respond to it. The style of the film creates, in us, the same feeling that the events in the film create in the hero. Interesting.

Very nice. I like Borat very much. I think it is, as everybody has been saying, the funniest movie in years.

Barry Lyndon isn’t a great success, and it’s not a great entertainment, but it’s a great example of directorial vision.

The middle 100 minutes of the movie are charming and moving and surprisingly interesting.