A vibrant emotional epic.

Plunges into an imaginative landscape as large as all creation - and never slackens its barreling pace or shrinks its panoramic scope.

A marvelous picture and a highly unusual journey in and around the Holocaust.

This audacious hybrid of cinematic styles is pure entertainment.

The title represents size and power, speed and hubris -- the very things the ship has come to stand for and the things that Cameron has restored to the cinema with grand, generous style.

This thoroughly modern movie pulls off a classical feat. It elicits the searing combination of pity and terror that leaves a viewer feeling purged.

There's no cheap uplift to their victory, no pop catharsis. What's great about United 93 is that you never feel it's just a movie - even though, as a movie, it's terrific.

Hero is a movie that lives up to all the nobility of its title, a gift to movie audiences who cherish the opportunity to be transported to a heretofore unimagined world and absorbed totally into what happens there.

You go to Good Night, and Good Luck expecting inspiration, and you get it. It's also unexpectedly subtle, tense, and challenging, complex both in its take on its subject and in its craftsmanship. So the movie brings you to your feet - and, at times, to tears.

Lumumba revives the tradition of Pontecorvo's "The Battle of Algiers" and Costa-Gavras' "Z" and "State of Siege." In substance and excitement, it joins their ranks.

The result is a performance film that conjures a vision of American life as moving, funny and rueful as John Ford's Young Mr. Lincoln.

A beautiful display of celluloid bungee-jumping.

Brilliant, brutally poignant.

It's cathartic and exhilarating.

Chicago is the zingiest, most inventive movie of its kind since "Cabaret."

Enraging and enthralling.

A down-home-exquisite musical dramedy.

Man on the Train may be a modest film, but it offers privileged glimpses of transcendence.

Views war from the inside out and the outside in. It carries the shock of full disclosure.

If Kill Bill Vol. 1 was bloody exhilarating, Vol. 2 is bloody great. And, as a bonus, not nearly so bloody.

It rises, all on its own, to the realm of masterwork.

You won't see a brighter, truer affirmation of the All-American messed-up improvisational family than Little Miss Sunshine.

True-blue Incredibles is a super tribute to the power of family and the might of imagination.

I love Rabbit-Proof Fence as drama, as protest, as moviemaking and as poetry.

Samson Raphaelson's marvel of a script unfolds in six sequences that rise and fall with the surprising weight of mini-lifetimes; under Lubitsch's tart-tender direction, the emotionally transparent Stewart and the electric, conflicted Sullivan create an immortal comic courtship. [13 Feb 2004]

Twisted is an unusual forensic crime film because it's witty and sophisticated as well as taut and creepy.

Inspirational, heart-rending and the movie that made Taylor a star - what more do you want? [19 May 2007, p.9S]

What Phoenix and Witherspoon accomplish in this movie is transcendent. They act with every bone and inch of flesh and facial plane, and each tone and waver of their voice.