If you are squeamish, here is the film to make you squeam.

Pollock is confident, insightful work--one of the year's best films.

The movie's strength and weakness is Anne Baxter, whose Eve lacks the presence to be a plausible rival to Margo, but is convincing as the scheming fan. When Eve understudies for Margo and gets great reviews, Mankiewicz wisely never shows us her performance; better to imagine it, and focus on the girl whose look is a little too intense, whose eyes a little too focused, whose modesty is somehow suspect.

You savor every moment of Jackie Brown. Those who say it is too long have developed cinematic attention deficit disorder. I wanted these characters to live, talk, deceive and scheme for hours and hours.

One of the risks taken by The Killing Fields is to cut loose from that tradition, to tell us a story that does not have a traditional Hollywood structure, and to trust that we'll find the characters so interesting that we won't miss the cliché. It is a risk that works, and that helps make this into a really affecting experience.

Kramer vs. Kramer is a movie of good performances, and it had to be, because the performances can't rest on conventional melodrama.

With electrifying, graceful direction by David Mackenzie...a rich, darkly humorous and deeply insightful screenplay by Taylor Sheridan...and no fewer than four performances as good as anything I’ve seen onscreen this year, Hell or High Water is an instant classic modern-day Western, traveling down familiar roads but always, always with a fresh and original spin.

The movie is vulgar, raunchy, ribald, and occasionally scatological. It is also the funniest comedy since Mel Brooks made "The Producers."

This film is a wonder - the best work yet by one of our most original and independent filmmakers - and after it is over, and you begin to think about it, its meanings begin to flower.

This is the first film to approach the subject of "undocumented workers" solely through their eyes. This is not one of those docudramas where we half-expect a test at the end, but a film like "The Grapes of Wrath" that gets inside the hearts of its characters and lives with them.

David Gordon Green's second film, is too subtle and perceptive, and knows too much about human nature, to treat their lack of sexual synchronicity as if it supplies a plot.

This is a film of such dramatic power and innovative comedy and romantic poetry and melancholy beauty that upon exiting a screening, you might well feel the urge to tell everyone in the lobby of the multiplex to delay their plans to check out some mainstream offering because if they truly love cinema, they should see THIS movie, immediately.

This is not your average family cartoon. Shrek is jolly and wicked, filled with sly in-jokes and yet somehow possessing a heart.

Seen after 30 years, Dr. Strangelove seems remarkably fresh and undated - a clear-eyed, irreverant, dangerous satire. And its willingness to follow the situation to its logical conclusion - nuclear annihilation - has a purity that today's lily-livered happy-ending technicians would probably find a way around.

Here is a tense and sorrowful film where common sense struggles with blood lust.

A searing portrait of the human condition. [12 Oct 2007, p.B6]

Blake Edwards's "10" is perhaps the first comedy about terminal yearning. Like all great comedies, it deals with emotions very close to our hearts: In this case, the unutterable poignance of a man's desire for a woman he cannot have.

It’s quintessential Anderson... but also an unabashed entertainment. And that’s something to see.

The film is masterful in its control of acting and visual style.

A magnificent science-fiction film, all the more intriguing because it raises questions about the origin of human life and doesn't have the answers.

This film is joyous, but more than that: It's lovely in its construction. The director, Prashant Bhargava, born and raised on Chicago's South Side, knows what his basic story line is, but reveals it subtly.

One of the best police movies in recent years, a virtuoso fusion of performances and often startling action.

It's rare to get a good movie about the touchy adult relationship of a sister and brother. Rarer still for the director to be more fascinated by the process than the outcome. This is one of the best movies of the year.

It "explains" nothing but feels everything. It reminds me of two other films: Bresson's "Mouchette," about a poor girl victimized by a village, and Karen Gehre's "Begging Naked," shown at Ebertfest this year, about a woman whose art is prized even as she lives in Central Park.

What makes Psycho immortal, when so many films are already half-forgotten as we leave the theater, is that it connects directly with our fears: Our fears that we might impulsively commit a crime, our fears of the police, our fears of becoming the victim of a madman, and of course our fears of disappointing our mothers.

A movie that you might want to see for no other reason than because it exists. There will never be another like it.

An exhilarating visual experience and proves for the third time he's (Zemeck) is one of the few directors who knows what he's doing with 3-D.

I, Tonya is kitschy and smart and funny and insightful, and sometimes sobering.