The story in the jungle moves ahead neatly, economically, powerfully.

There are moments in Yagira's performance that will break your heart.

There are scenes here that are funnier than those of any other movie this year, and other scenes that weep with the pain of sad family secrets, and when it's over we have seen some kind of masterpiece. This is one of the best films of the year.

John Cassavetes' Faces is the sort of film that makes you want to grab people by the neck and drag them into the theater and shout: "Here!" It would be a triumphant shout.

A rousing adventure, a skillful marriage of special effects and computer animation, and it contains sequences of breathtaking beauty. It also gives us, in a character named the Gollum, one of the most engaging and convincing CGI creatures I've seen.

Here is a film where God does not intervene and the directors do not mistake themselves for God. It makes the solutions at the ends of other pictures seem like child's play.

Lee doesn't make exploitation films, and he doesn't find conventional answers. He is puzzled by the mysteries of inexplicable behavior.

A great American novel has been turned into a great American film.

An intimate, often heartbreaking chronicle.

This is a strange and beautiful and unique film, one of the best movies of the year.

Director Gillian Armstrong finds the serious themes and refuses to simplify the story into a "family" formula. "

The fact that David Helfgott lived the outlines of these events--that he triumphed, that he fell, that he came slowly back--adds an enormous weight of meaning to the film.

At times Can You Ever Forgive Me? is actually quite funny and of course McCarthy is great in those scenes — but she’s equally effective in the darkest, most dramatic moments. It’s one of the finest performances of the year.

Here is a children's film made for the world we should live in, rather than the one we occupy. A film with no villains. No fight scenes. No evil adults. No fighting between the two kids. No scary monsters. No darkness before the dawn. A world that is benign. A world where if you meet a strange towering creature in the forest, you curl up on its tummy and have a nap.

The Missing Picture is a wrenching yet tender memoir by Rithy Panh about life and death in the time of Pol Pot.

The film is a visual feast of palaces, costumes, wigs, feasts, opening nights, champagne, and mountains of debt.

Robert Altman’s The Long Goodbye attacks film noir with three of his most cherished tools: Whimsy, spontaneity and narrative perversity.

Almodovar’s stylized and meta slice of self-representation is as visually stunning as it is emotionally effective.

The film is a glorious experience to witness, not least because, knowing the technique and understanding how much depends on every moment, we almost hold our breath.

Gomorrah looks grimy and sullen, and has no heroes, only victims. That is its power.

Conveys the experience of being drunk so well that the only way I could improve upon it would be to stand behind you and hammer your head with two-pound bags of frozen peas.

Medium Cool is finally so important, and absorbing because of the way Wexler weaves all these elements together. He has made an almost perfect example of the new movie. Because we are so aware this is a movie, It seems more relevant and real than the smooth fictional surface of, say, Midnight Cowboy.

Think of how we read the thoughts of those closest to us, in moments when words will not do. We look at their faces, and although they do not make any effort to mirror emotions there, we can read them all the same, in the smallest signs. A movie that invites us to do the same thing can be very absorbing.

The most ingenious device in the story is the way Chow and Su play-act imaginary scenes between their cheating spouses.

This is a movie to surrender yourself to. If you require logic, see something else. Mulholland Drive works directly on the emotions, like music.

“Fallout” just might be the best of the franchise, and what a rare thing that is for a long-running series.

F For Fake is minor Welles, the master idly tuning his instrument while the concert seems never to start again. But it's engaging and fun, and it's astonishing how easily Welles spins a movie out of next to nothing.

Released in 1962, it seems as innovative and influential as any New Wave film.