Alien, even with some scene tinkering that has left this "director's cut" one minute shorter than its original release, is still one of the creepiest, scariest, most shocking films ever.

A gorgeous flirt of a murder movie.

Even with the great Ken Watanabe lending command and compassion to the role of General Kuribayashi, it's a formless slog across a treacherous field.

Funny Girl is old-fashioned; it is also exhilarating.

All the Coens come up with is a movie about bad things happening to limited people.

Just when you might give up on young American film directors making art the way Bergman and Kurosawa did, along comes Bennett Miller's quiet, tumultuous Capote.

If the movie has a flaw, it's that the working out of Vincent's psychology is too perfect.

A quiet, heartfelt story of love and loss.

A masterpiece of psychological suspense.

Thanks to Kerr's eloquent tremor of a performance, when the heroine witnesses apparitions, they're immediately credible to the audience. [29 May 2009, p.1C]

That rare kids' movie that may be even more entertaining for its intended audience's adult companions.

It's a miracle: A tough, honest, bloody film set so far from the bright lights it feels as if it's on a different planet, yet knowable and absolutely compelling from start to finish.

Everything about Up is an up, in the most visceral and poetic ways.

Prove(s) once again how ingenious, artful and flat-out entertaining animation can be.

Kore-eda expresses the terror of the kids' predicament with a touch that's equally tender and dispassionate.

The result is harrowing and inspiring. As escapist entertainment, it's the movie of the year.

Thanks to a combination of fluid camerawork and careful pacing, the Belgian writer-directors have produced a compelling narrative that sounds, if not a cautionary note, a worried one.

The best part of Little Women is that it tells a great big story. [24 Dec 1994]

Hard to take in its particulars.

Except for the Mozart music and Tharp movements around the edges, Amadeus plays like a monument to mediocrity. The movie belongs to Salieri.

Sokurov, for all his accomplishment, is less a bold innovator than a raider of lost art.

For Americans, Gomorrah will play like every other Mafia epic - and no other Mafia epic.

Little miracles spring up throughout this picture.

All about mood, and not one bit about action - which explains why it's at once both the most passionate film of the year so far, and the most determinedly inert.

A dizzying - sometimes frustrating - marvel of moviemaking instinct and ingenuity.

There's an element of the nature film to Grizzly Man, and those passages are truly stunning, offering an up-close look at these magnificent animals.

One False Move doesn't make a single false move its own self: It's as tough and gripping as they come. It's the first movie I've seen in months where, when I was walking out, I thought to myself, "Damn! I wanna see that one again!"

Park's imagination is as fecund as the bunnies that bob up and down from their rabbit holes in every corner of the Tottington garden.