Elliptical, full of subtle inner rhymes...and profoundly moving, this is the most tightly crafted Kubrick film since "Dr. Strangelove," as well as the most horrific; the first section alone accomplishes most of what "The Shining" failed to do.

Wong Kar-wai's idiosyncratic style first became apparent in this gorgeously moody second feature.

A masterpiece of some kind, though clearly destined to be controversial and contested everywhere it shows—not only for the sexist, racist, and homophobic rage it exposes but also for its brilliant confrontational style.

One of the great breakthroughs—the Ulysses of the cinema—and a powerful, moving experience in its own right.

It’s a historical marker in a way that few other films are — not only the nail in the coffin of the French New Wave and one of the strongest statements about the aftermath of the failed French revolution of May 1968, but also a definitive expression of the closing in of Western culture after the end of the era generally known as the 60s.

John Huston was rarely in better form than he was directing this 1948 study of gold fever and worse obsessions among an unlikely trio of prospectors... Bogart is outstanding as the pathetic bully Fred C. Dobbs.

In many ways the ultimate Hawks film: clear, direct, and thoroughly brilliant.

What can you say about the movie that taught you what movies were?...Kane is no longer my favorite Orson Welles film (I'd take "Ambersons," "Falstaff," or "Touch of Evil"), but it is still the best place I know of to start thinking about Welles - or for that matter about movies in general.

It's a very funny, very moving work, graced by the cinema's cleanest, most classical style.

A crisp, beautifully paced film, full of Siegel's wonderful coups of cutting and framing.

A brilliant work of popular art, it redefined nostalgia as a marketable commodity and established a new narrative style, with locale replacing plot, that has since been imitated to the point of ineffectiveness.

The most visually inventive film of the 60s is also one of the funniest.

Smart, poignant, and utterly beguiling.

After the portentous "No Country for Old Men," Joel and Ethan Coen return to their trademark brand of cruel, misanthropic farce, and for dark laughs and hurtling narrative momentum this spy caper is their best work since "Fargo."

One of the most deservedly famous and chilling horror films of all time.

Cassavetes makes the viewer's frustration work as part of the film's expressiveness; it has an emotional rhythm unlike anything else I've ever seen.

Combines live-action and animation with breathtaking wizardry... Alternately hilarious, frightening, and awesome.

Director Juan José Campanella weaves together two love stories--between the victim and her husband, and the investigator and his former boss (Soledad Villamil)--and creates some masterful set pieces; his breathless chase through a packed soccer stadium is a marvel of choreography and top-notch CGI.

French director Gaspar Noe has kept a pretty low profile since his 2002 drama "Irreversible" notorious for its brutal nine-minute anal rape scene. But this epic, psychedelic mindfuck confirms him once again as the cinema's most imaginative nihilist.

Along with Dumbo, which immediately followed it, this 1940 classic, the second of the Disney animated features, is probably the best in terms of visual detail and overall imagination as well as narrative sweep.

In all, the most pleasure-filled Hollywood movie of 1994.

This 1985 film's absolute freedom from cliches is genuinely refreshing; looking at it again after Van Sant's subsequent "Drugstore Cowboy," I found it every bit as good and in some ways even more impressive than the later film. It shouldn't be missed.

Masterfully charted and acted.

Much as Emile de Antonio's neglected "In the Year of the Pig" (1968) may be the only major documentary about Vietnam that actually considers the Vietnamese, this film allows the people of Iraq to speak, and what they say is fascinating throughout.

Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made. The case for Hitchcock as a modern Conrad rests on this ruthless investigation of the heart of darkness, but the film is uniquely Hitchcockian in its positioning of the godlike mother figure. It's a deeply serious and deeply disturbing work, but Hitchcock, with his characteristic perversity, insisted on telling interviewers that it was a "fun" picture.

Leone brought back a masterpiece, a film that expands his baroque, cartoonish style into genuine grandeur, weaving dozens of thematic variations and narrative arabesques around a classical western foundation myth.(Review of Original Release)

With this 1961 film Truffaut comes closest to the spirit and sublimity of his mentor, Jean Renoir, and the result is a masterpiece of the New Wave.

Shot on a shoestring and none the worse for it, Jean-Luc Godard’s gritty and engaging first feature had an almost revolutionary impact when first released in 1960.