It is a great film about greatness, the story of the horse and the no less brave woman who had faith in him.

Jeff Bridges is a virtual certainty to win his first Oscar, after four nominations.

Oldboy is a powerful film not because of what it depicts, but because of the depths of the human heart which it strips bare.

Soaring. Exhilarating. Magical. Heartbreaking. Unforgettable.

Good Morning, Vietnam works as straight comedy and as a Vietnam-era MASH, and even the movie’s love story has its own bittersweet integrity.

This film is true about human nature. It is not universal, but within its particular focus, it is unrelenting.

So often movies keep our attention by flashy tricks and cheap melodrama; it is an intellectually cleansing experience to watch this intelligent and hopeful film.

Best of all, this movie is inhabited by a real cinematic intelligence. The audience isn't condescended to. In sequences like the one in which Travolta reconstructs a film and sound record of the accident, we're challenged and stimulated: We share the excitement of figuring out how things develop and unfold, when so often the movies only need us as passive witnesses.

The Friends of Eddie Coyle works so well because Eddie is played by Robert Mitchum, and Mitchum has perhaps never been better.

Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.

A remarkable film.

Inception does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does.

The best film ever made about filmmaking.

Body Heat is good enough to make film noir play like we hadn't seen it before.

Alexander's performance makes the film possible to watch without unbearable heartbreak, because she is brave and decent in the face of the horror. And the last scene, in which she expresses such small optimism as is still possible, is one of the most powerful movie scenes I've ever seen.

This is a movie about spies, but it is not a thriller in any routine sense of the word. It's just the meticulously observant record of how naiveté, inexperience, misplaced idealism and greed led to one of the most peculiar cases of treason in American history.

I think this is an important movie. Devastating, violent, hopeless, and important, because it holds a mirror up to a part of the world we live in, and helps us see it more clearly. In particular, it examines the connection between fame and obscurity, between those who have a moment of praise and notoriety, and those who see themselves condemned to stand always at the edge of the spotlight.

Chocolat is a film of infinite delicacy. It is not one of those steamy melodramatic interracial romances where love conquers all. It is a movie about the rules and conventions of a racist society and how two intelligent adults, one black, one white, use their mutual sexual attraction as a battleground on which, very subtly, to taunt each other.

The darkly beautiful sci-fi film manages to feel bold and original while paying homage to countless great movies.

The actors, as sometimes happens, create those miracles that can endow a film with conviction. Moadi and Hatami, as husband and wife, succeed in convincing us their characters are acting from genuine motives.

In its heedless energy and joy, it reminded me of how I felt the first time I saw "Raiders of the Lost Ark." It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way.

It’s all perfectly, wonderfully, fantastically crazy. Amidst all those ingenious, power-packed road warrior sequences, Fury Road contains a surprising amount of depth and character development.

The funniest movie I have seen in a long time.

Films like this are more useful than gung-ho capers like "Behind Enemy Lines." They help audiences understand and sympathize with the actual experiences of combat troops, instead of trivializing them into entertainments.

Here is a strikingly beautiful, bold, funny, heart-tugging otherworldly journey almost dizzying in its multi-leveled complexity, and yet containing the simplest and most enduring Capra-esque messages about how we don’t know what we’ve got until it’s gone, and how we should embrace every waking moment because it can all vanish in the blink of an eye.

This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.

It's a movie based on an idea, and all the conventional wisdom agrees that emotions, not ideas, are the best to make movies from. But Being There pulls off its long shot and is one of the most confoundingly provocative movies of the year.

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.