The film doesn't tell a story in any conventional sense. It tells of feelings. At certain moments we are not sure exactly what is being said or signified, but by the end we understand everything that happened - not in an intellectual way, but in an emotional way.

In a time when our cities are wounded, movies like Grand Canyon can help to heal.

An assured and very serious love story that allows neither humor nor romance to get in the way of its deeper and darker subject.

The movie itself, unfortunately, is not as compelling as the tempest that went into its making.

An Almodovar film is always an exercise in style, but High Heels also generates narrative energy and mystery, and provides what was, for me, a genuine surprise at the end.

It's one of the movies with a lot of smiles and laughter in it, and a good feeling all the way through. Just everyday life, warmly observed.

Stone and his editors, Joe Hutshing and Pietro Scalia, have somehow triumphed over the tumult of material here and made it work - made it grip and disturb us.

He’s a real smoothie, Warren Beatty, and when he plays one in a movie he is almost always effective. But his title role in Bugsy is more than effective, it’s perfect for him - showing a man who not only creates a seductive vision, but falls in love with it himself.

The Last Boy Scout is a superb example of what it is: a glossy, skillful, cynical, smart, utterly corrupt and vilely misogynistic action thriller. To give it a negative review would be dishonest, because it is such a skillful and well-crafted movie.

Jarmusch is a poet of the night. Much of Night on Earth creates the same kind of lonely, elegaic, romantic mood as Mystery Train, his film about wanderers in nighttime Memphis. Tom Waits' music helps to establish this mood of cities that have been emptied of the waking. It's as if the minds of these night people are affected by all of the dreams and nightmares that surround them.

Poignancy. Lessons to be learned. Speeches to be made. Lost marbles to be rediscovered. Tears to be shed. The conclusion of Hook would be embarrassingly excessive even for a movie in which something of substance had gone before.

The beauty in this film is in its directness. There are some obligatory scenes. But there are also some very original and touching ones. This is a movie that has its heart in the right place.

We feel for once we are witnessing the true story of how a movie got made.

There is a long central section in the film which is a triumph of narrative technique.

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.

This is the kind of film that isn't as much fun to see as it is to hear about.

Kafka, as subject or character, simply doesn't fit into the world of this film. Soderbergh does demonstrate again here that he's a gifted director, however unwise in his choice of project.

Impressive moviemaking, showing Scorsese as a master of a traditional Hollywood genre.

Little Man Tate is the kind of movie you enjoy watching; it's about interesting people finding out about themselves.

Highlander 2: The Quickening is the most hilariously incomprehensible movie I've seen in many a long day - a movie almost awesome in its badness.

There are scenes here that are funnier than those of any other movie this year, and other scenes that weep with the pain of sad family secrets, and when it's over we have seen some kind of masterpiece. This is one of the best films of the year.

There is no mechanical plot that has to grind to a Hollywood conclusion, and no contrived test for the heroes to pass; this is a movie about two particular young men, and how they pass their lives.

The movie crackles with energy and life, and with throwaway slang dialogue by Mamet, who takes realistic speech patterns and simplifies them into a kind of hammer-and-nail poetry.

Dogfight isn't a love story so much as a story about how a young woman helps a confused teenage boy to discover his own better nature. The fact that his discoveries take place on the night before he ships out to fight the war in Vietnam only makes the story more poignant.

The Man in the Moon is a wonderful movie, but it is more than that, it is a victory of tone and mood. It is like a poem.

“At the Max” is a rock concert brought to a point approaching virtual reality.

I’ve seen versions of the plot of “Necessary Roughness” in almost every other movie ever made about an underdog sports team - but I fell for it again this time, because it was well done, and because the movie doesn’t try to pump itself up into more than it is, a good-humored entertainment.

A disorganized, rambling and eccentric movie that contains some moments of truth, some moments of humor, and many moments of digression.