The story of herself (Varda), a woman whose life has consisted of moving through the world with the tools of her trade, finding what is worth treasuring.

Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too.

Here is one of the most entertaining films in many a moon, a film that charms because of its story, its performances and because of the sly way it plays with being silent and black and white.

The film is extraordinarily beautiful. Bertolucci is one of the great painters of the screen.

An amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling.

Paths of Glory was the film by which Stanley Kubrick entered the ranks of great directors, never to leave them.

For four hours we live in these two rooms and discover the secrets of these people, and at the end we have gone deeper, seen more, and will remember more, than with most of the other movies of our life.

Christopher Nolan’s three-hour historical biopic Oppenheimer is a gorgeously photographed, brilliantly acted, masterfully edited and thoroughly engrossing epic that instantly takes its place among the finest films of this decade — an old-fashioned yet cutting-edge work that should resonate with film scholars and popcorn-toting mainstream movie lovers for years and decades to come.

Interiors becomes serious by intently observing complex adults as they fend and cope, blame and justify. Because it illuminates some of the ways we all act, it is serious but not depressing; when it's over, we may even find ourselves quietly cheered that Allen has seen so clearly how things can be.

It’s one of the best movies of the year and one of the truest portrayals I’ve ever seen about troubled teens and the people who dedicate their lives to trying to help them.

This is a wonderful film. There isn't a thing that I would change.

Working from a script by Paul Webb and aided by stark, beautiful, sometimes startlingly realistic cinematography by Bradford Young, DuVernay has delivered a powerful and moving portrait of Martin Luther King Jr.

This is a great documentary about a great man.

It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.

As for myself, as Leticia rejoined Hank in the last shot of the movie, I was thinking about her as deeply and urgently as about any movie character I can remember.

[A] stunning “documentary of the imagination."

I have seen Waking Life three times now. I want to see it again -- not to master it, or even to remember it better, -- but simply to experience all of these ideas, all of this passion, the very act of trying to figure things out.

No finer film has ever been made about organized crime - not even "The Godfather."

But King Kong is more than a technical achievement. It is also a curiously touching fable in which the beast is seen, not as a monster of destruction, but as a creature that in its own way wants to do the right thing.

Peggy Sue Got Married is a lot of things - a human comedy, a nostalgic memory, a love story - but there are times when it is just plain creepy, because it awakens such vivid memories in us.

You would imagine a film like this would be greeted with rapture in France, but no. The leading French film magazine, "Cahiers du Cinema," has long scorned the filmmakers of this older generation as makers of mere "quality," and interprets Tavernier's work as an attack on the New Wave generation which replaced them.

The film is often uncomfortable to watch, prompting that little voice inside each of us to scream out “Somebody help her!”

It is intriguing to wonder what Scorsese saw in the Hong Kong movie that inspired him to make the second remake of his career (after "Cape Fear"). I think he instantly recognized that this story, at a buried level, brought two sides of his art and psyche into equal focus.

Throughout Fantasia, Disney pushes the edges of the envelope.

Edwards and Moore are working at the top of their forms here, and the result is a pure, classic slapstick that makes Micki + Maude a real treasure.

The Year of Living Dangerously is a wonderfully complex film about personalities more than events, and we really share the feeling of living in that place, at that time.

The film gathers fearful force.

American Hustle is the best time I’ve had at the movies all year, a movie so perfectly executed, such wall-to-wall fun, so filled with the joy of expert filmmaking on every level I can’t imagine anyone who loves movies not loving THIS movie.