There’s hardly a moment in this film that doesn’t feature at least one great actor in top form.

I am not British, was born 14 years before the subjects, and yet by now identify intensely with them, because some kinds of human experience -- teenage, work, marriage, illness are universal. You could make this series in any society.

A Bronx Tale is a very funny movie sometimes, and very touching at other times. It is filled with life and colorful characters and great lines of dialogue, and De Niro, in his debut as a director, finds the right notes as he moves from laughter to anger to tears. What's important about the film is that it's about values.

As for Coppola and his world, it's difficult to say whether his film is successful or not. That's the beautiful thing about a lot of the new, experimental American directors, they'd rather do interesting things and make provocative observations than try to outflank John Ford on his way to the Great American Movie.

Everything about the film -- its casting, its filming, its release -- is daring and innovative.

It brings the fantastic into our everyday lives; it delights in showing us the reaction of the man on the street to Superman's latest stunt.

The Queen is a spellbinding story of opposed passions -- of Elizabeth's icy resolve to keep the royal family separate and aloof from the death of the divorced Diana, who was legally no longer a royal, and of Blair's correct reading of the public mood.

Walkabout is a superb work of storytelling and its material is effortlessly fascinating.

A glorious romantic fantasy, aflame with passion and bittersweet longing.

A movie that is not only ingenious and entertaining, but liberating, because we can sense the story isn't going to be twisted into conformity with some stupid formula.

The film is pitch-perfect in its decor, music, clothes, cars, language and values. It takes place during those heady years between the introduction of the Pill and the specter of AIDS, when men shaped as adolescents by Playboy in the 1950s now found some of their fantasies within reach.

The movie is as intelligent a thriller as you'll see this year.

Whatever he did, Cagney came across as one of the most dynamic performers in movie history--a short man with ordinary looks whose coiled tension made him the focus of every scene.

What we remember with Red River is not, however, the silly ending, but the setup and the majestic central portions. The tragic rivalry is so well established that somehow it keeps its weight and dignity in our memories, even though the ending undercuts it.

It's enchanting and delightful in its own way, and has a good heart. It is the best animated film of recent years, the latest work by Hayao Miyazaki, the Japanese master who is a god to the Disney animators.

The most painful and heartrending portrait of jealousy in the cinema--an "Othello'' for our times.

Green takes us to that place where we keep feelings that we treasure, but are a little afraid of.

The performances are all insidiously powerful.

What is most amazing about this film is how completely Spielberg serves his story. The movie is brilliantly acted, written, directed and seen. Individual scenes are masterpieces of art direction, cinematography, special effects, crowd control.

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

It is also a rarity, a patriotic film that has a liberal, rather than a conservative, heart. It made me feel good to be an American, and good that Vladimir Ivanoff was going to be one, too.

A Hollywood-style romance between beautiful people, and an honest story about recognizable human beings.

The Wizard of Oz has a wonderful surface of comedy and music, special effects and excitement, but we still watch it six decades later because its underlying story penetrates straight to the deepest insecurities of childhood, stirs them and then reassures them.

More reverie and meditation than reportage.

Hillbilly Elegy is a beautifully constructed, unforgiving, heart-tugging family epic about three generations of the Vance family.

The way Hugo deals with Melies is enchanting in itself, but the film's first half is devoted to the escapades of its young hero. In the way the film uses CGI and other techniques to create the train station and the city, the movie is breathtaking.

The Infiltrator is a great-looking, well-paced, wickedly funny and seriously tense thriller, bolstered by an ensemble cast as good as I’ve seen in any film this year.

Tokyo Story moves quite slowly by our Western standards, and requires more patience at first than some moviegoers may be willing to supply. Its effect is cumulative, however; the pace comes to seem perfectly suited to the material.