A very funny, sometimes very sad documentary.

But there is no way, within the film, to be sure with any confidence exactly what happens, or precisely how, or really why. Kubrick delivers this uncertainty in a film where the actors themselves vibrate with unease.

There are moments in All or Nothing of such acute observation that we nod in understanding -- The closing scenes of the movie are just about perfect.

Rush ranks among the best movies about auto racing ever made, featuring two great performances from the leads, who capture not only the physical look of the racing legends they’re playing, but the vastly different character traits that made their rivalry, well, made for the movies.

It is not a film for most people. It is certainly for adults only. But it shows Todd Solondz as a filmmaker who deserves attention, who hears the unhappiness in the air and seeks its sources.

You can freeze almost any frame of this film and be looking at a striking still photograph. Nothing is done casually.

Max is played by Jean Gabin, named "the actor of the century" in a French poll, in Jacques Becker's Touchez Pas au Grisbi, a 1954 French crime film that uncannily points the way toward Jean-Pierre Melville's great "Bob Le Flambeur" the following year.

The strangest thing about Birdy which is a very strange and beautiful movie indeed, is that it seems to work best at its looniest level, and is least at ease with the things it takes most seriously.

This movie does not describe the America I learned about in civics class, or think of when I pledge allegiance to the flag. Yet I know I will get the usual e-mails accusing me of partisanship, bias, only telling one side, etc. What is the other side? See this movie, and you tell me.

Of all the movies I have seen, this one most completely embodies the romance of going to the movies.

A milestone in the creation of new idea about young people.

Forster's novel is one of the literary landmarks of this century, and now David Lean has made it into one of the greatest screen adaptations I have ever seen.

The kind of parable that encourages us to re-evaluate the good old days and take a fresh look at the new world we so easily dismiss as decadent.

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.

At some point during the watching, "Sansho the Bailiff" stops being a fable or a narrative and starts being a lament, and by that time it is happening to us as few films do.

By the end of the movie, we have been through an emotional and a sensual wringer, in a film of great wisdom and delight.

The actors and the characters merge and form a reality above and apart from the story, and the result is a film that takes us beyond crime and London and the Russian mafia and into the mystifying realms of human nature.

[An] extraordinary documentary, nothing at all like what I was expecting to see. Here is not a sick and drugged man forcing himself through grueling rehearsals, but a spirit embodied by music. Michael Jackson was something else.

Like the listeners at the feet of a master storyteller, we find ourselves visualizing what Gregory describes, until this film is as filled with visual images as a radio play—more filled, perhaps, than a conventional feature film.

Pitiless, bleak and despairing -- The Grey Zone refers to a world where everyone is covered with the gray ash of the dead, and it has been like that for so long they do not even notice anymore.

Who is Charles Ferguson, director of this film? A one-time senior fellow of the Brookings Institute, software millionaire, originally a supporter of the war, visiting professor at MIT and Berkeley, he was trustworthy enough to inspire confidences from former top officials.

What a beautiful, thrilling, joyous, surprising and heart-thumping adventure this is.

Duvall's screenplay does what great screenwriting is supposed to do, and surprises us with additional observations and revelations in every scene.

That the males play baseball and that sport is their work is what makes this the ultimate baseball movie; never before has a movie considered the game from the inside out.

No one would ever accuse Alfred Hitchcock's Shadow of a Doubt of being plausible, but it is framed so distinctively in the Hitchcock style that it plays firmly and never breaks out of the story.

An Officer and a Gentleman is the best movie about love that I've seen in a long time.

It is a great story of love and hope, told tenderly and without any great striving for effect.

It is a first film by a young British director who exhibits in every scene a complete mastery of the kind of characterization he is attempting. This film is a masterpiece, plain and simple, and that is a statement I doubt I will ever have cause to revise.