I loved this movie. I loved the way Coppola and her actors negotiated the hazards of romance and comedy, taking what little they needed and depending for the rest on the truth of the characters.

Knowing is among the best science-fiction films I've seen -- frightening, suspenseful, intelligent and, when it needs to be, rather awesome.

A tense, taut and expert thriller that becomes something more than that, an allegory about an innocent man in a world prepared to crush him.

The best of three Star Wars films, and the most thought-provoking. After the space opera cheerfulness of the original film, this one plunges into darkness and even despair, and surrenders more completely to the underlying mystery of the story. It is because of the emotions stirred in Empire that the entire series takes on a mythic quality that resonates back to the first and ahead to the third. This is the heart.

A compelling thriller to begin with, but it adds the rare quality of having a heroine more fascinating than the story.

One of the glories of True Grit is that it recognizes Wayne's special presence. It was not directed by Ford (who in any event probably couldn't have been objective enough about Wayne), but it was directed by another old Western hand, Hathaway, who has made the movie of his lifetime and given us a masterpiece. This is the sort of film you call a movie, instead of the kind of movie you call a film.

Nolte and Coburn are magnificent in this film, which is like an expiation or amends for abusive men. It is revealing to watch them in their scenes together--to see how they're able to use physical presence to sketch the history of a relationship.

Even as Greengrass’ signature kinetic style renders us nearly seasick and emotionally spent from the action, it’s the work of Tom Hanks that makes this film unforgettable.

What a magical movie.

A quiet movie, shaken from time to time by ripples of emotional turbulence far beneath the surface.

If you have never seen a single film by Agnes Varda, perhaps it is best to start with The Beaches of Agnes.

Directed with great flair and pitch-perfect timing, brimming with sparkling visuals, filled with first-rate voice performances, thrilling adventures and unforgettable moments, Inside-Out is an instant classic.

This movie is one of the most relentlessly nonstop action pictures ever made, with a virtuoso series of climactic sequences that must last an hour and never stop for a second. It's a roller-coaster ride, a visual extravaganza, a technical triumph, and a whole lot of fun.

Am I acting as an advocate in this review? Yes, I am. I believe that to be "impartial" and "balanced" on global warming means one must take a position like Gore's. There is no other view that can be defended.

Its most impressive accomplishment is to gather a bewildering labyrinth of facts and suspicions over a period of years, and make the journey through this maze frightening and suspenseful.

Broadcast News has a lot of interesting things to say about television. But the thing it does best is look into a certain kind of personality and a certain kind of relationship.

A towering landmark of film, quite simply because it tells a good story, and tells it wonderfully well.

A voluptuary of a film, drunk on primary colors, caressing Penelope Cruz, using the devices of a Hitchcock to distract us with surfaces while the sinister uncoils beneath. As it ravished me, I longed for a freeze frame to allow me to savor a shot.

Thanks to the clever, docudrama style direction by Matt Johnson, a crackling good screenplay by Johnson and Matthew Miller and searingly good performances from the ensemble cast, the scenes where BlackBerry crashes and burns are just as enthralling as the triumphant moments when an unlikely team of ragtag techno geeks based in Waterloo, Ontario, briefly revolutionized the mobile device world.

Bonnie and Clyde is a milestone in the history of American movies, a work of truth and brilliance. It is also pitilessly cruel, filled with sympathy, nauseating, funny, heartbreaking, and astonishingly beautiful.

It’s funny as hell in a drive-in splatter movie kind of way, smart and insightful and respectful in its depiction of modern-day teens, brimming with sly and satiric social commentary — and legitimately profound.

But I'm making Welcome to the Dollhouse sound like some sort of grim sociological study, and in fact it's a funny, intensely entertaining film.

A perplexing and disturbing film of great effect.

The splendid cast embodies the characters so fully that the events actually seem to be happening to them, instead of unfolding from a screenplay.

It is like no other film you've seen, and yet you feel right at home in it. It seems to be going nowhere, and knows every step it wants to make. It is a constant, almost kaleidoscopic experience of discovery, and we try to figure out what the film is up to and it just keeps moving steadfastly ahead, fade in, fade out, fade in, fade out, making a mountain out of a molehill.

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.

A masterpiece, pure and simple, deep and true...The best film of the year.

A film that with quiet confidence creates a fragile magic.