It’s a rustic, poetic, occasionally funny, sometimes heartbreaking and wonderfully strange and memorable character study of a man who is in such tremendous pain he had to retreat from the world.

Ferrara is a master at luring the viewer into his sinister underworld, where survival of the fittest is the only rule. It's refreshing to find an auteur whose storytelling isn't enslaved by plot conventions. Putting substance second to style isn't always a sin, and King of New York has a style that's a joy to behold through many viewings. [8 Aug 1993, p.5]

It is refreshing to see Cruz acting in the culture and language that is her own. As it did with Sophia Loren in the 1950s, Hollywood has tried to force Cruz into a series of show-biz categories, when she is obviously most at home playing a woman like the ones she knew, grew up with, could have become.

This time the dad is the hero of the story, although in most animation it is almost always the mother.

This happens in 1961, when 16-year-old girls were a great deal less knowing than they are now. Yet the movie isn't shabby or painful, but romantic and wonderfully entertaining.

The film's extended suspense sequences deserve a place among the great stretches of cinema.

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.

If you miss this film, you are robbing yourself of one of the great movie-watching experiences of your life.

In its warmth and in its enchantment, as well as in its laughs, this is the best comedy in a long time.

Not many movies know that truth. Moonlight Mile is based on it.

This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.

You can live in a movie like this.

What is remarkable is how realistic the story is.

I enjoyed The Truman Show on its levels of comedy and drama; I liked Truman in the same way I liked Forrest Gump--because he was a good man, honest, and easy to sympathize with.

Nearly every scene in A Most Violent Year is pitch perfect. Chandor the writer comes across as a big fan of David Mamet’s, and Chandor the director invokes stylistic touches reminiscent of Sidney Lumet, among others, but Chandor is no cover artist.

I don't know when I've seen a thriller more frightening. I couldn't tear my eyes from the screen. Collapse is even entertaining, in a macabre sense. I think you owe it to yourself to see it.

Some kind of sweet, wacky masterpiece.

Like "Citizen Kane," Pulp Fiction is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next.

The style here is so seductive and witty it's hard to pin down. It's like nothing else I've seen by Hill, and at times, it almost reminds me of Jacques Tati crossed with Robert Altman. It's good to get a crime movie more concerned with humor and character than with blood and gore; here's one, as we say, for the whole family.

The movie belongs to Finney, but mention must be made of Jacqueline Bisset as his wife and Anthony Andrews as his half-brother. Their treatment of the consul is interesting. They understand him well.

As a thriller, Munich is efficient, absorbing, effective. As an ethical argument, it is haunting.

This movie moves so confidently and looks so good it seems incredible that it's a directorial debut.

Not just a thriller, not just a social commentary, not just a comedy or a romance, but all of those in a clearly seen, brilliantly made film.

Is the film watchable? Yes, compulsively.

A film of haunting mystery and buried sexual hysteria.

Director Lee and the team of writers have created an immersive, violent and sometimes shocking tapestry that plays out like “Deer Hunter” meets “The Treasure of the Sierra Madre,” with a steady undercurrent of subtle and not-so-subtle social and political commentary.

This is a film that left me marveling at Swartz’s beautiful mind, and shaking my head at the insanity of the system he knew was badly fractured.

Dawn of the Dead is one of the best horror films ever made -- and, as an inescapable result, one of the most horrifying. It is gruesome, sickening, disgusting, violent, brutal and appalling. It is also (excuse me for a second while I find my other list) brilliantly crafted, funny, droll, and savagely merciless in its satiric view of the American consumer society. Nobody ever said art had to be in good taste.