Few Alfred Hitchcock movies are more fun to watch than To Catch a Thief. [15 Jun 2007, p.C7]

The Third Man is a film where everything works: script, direction, the performances of Welles, Cotten, Trevor Howard (the cynical police major) and Alida Valli (the enigmatic traveler), Robert Krasker's flamboyantly tilted black-and-white cinematography and the unforgettably spare and haunting zither score by Anton Karas. [5 Sept 1996, p.6]

Jafar Panahi of Iran is one of his country's great filmmakers, and Offside is his best movie to date.

Kubrick's contributions are his wit and his eye. The wit, too much at times, is as biting as in "Dr. Strangelove," and the production, while of another order, is as spectacular as in "2001." [11 Feb 1972]

It's a movie that's so personal, naked and vulnerable that you can understand why some of its humor seems rough, some of its visuals excessive. But Crooklyn has a quality not as obvious in any Lee film since "Do the Right Thing": the sense of a whole world opening, rich and real, before your eyes. [13 May 1994, p.A]

Moskowitz may soon find himself in the same boat as many of the artists he is analyzing, because Stone Reader is going to be one tough act to follow.

All the "Star Wars" movies will continue to entertain us for many years to come. They were grand fun, and this last one's a corker.

A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself.

The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.

It works from a specific place and lets audiences relate to that place, and the people in it, like trusted intimates.

This is one of the real finds of 2008.

The best of all cattle-drive westerns. [11 Oct 1998, p.16C]

This one is a winner. [27 Oct 1989, p.F]

This is an amazing movie, released at a frightening time and made under remarkable circumstances.

The transition from cinematographer to director can be a bumpy ride, but few have navigated it as well as British filmmaker Nicolas Roeg. [08 Mar 2002, p.C6]

A gem made by a filmmaker who loves life, and knows how to capture its ebb and flow and sweet complication.

Swing Time, a Depression-era Manhattan ballad -- and best of the bunch by a hair over Top Hat -- has Fred as a threadbare gambler named Lucky, Ginger as a saucy dance teacher named Penny and a heart-stopping Kern-Dorothy Fields score that includes The Way You Look Tonight, A Fine Romance, Pick Yourself Up and their masterpiece farewell duet number, Never Gonna Dance. [23 Aug 2005, p.C3]

Altman's great kaleidoscopic ensemble comedy-drama about a frenzied few days in country music's capital, with an unlikely, quirky, explosive crowd of musicians, hangers-on and politicos all converging on a fateful concert crossroads.

David Lowery's film A Ghost Story is best seen a second time, though obeying the customary rules of time and cinema, you'll have the mysterious pleasure of seeing it a first time to get there.

A masterpiece. Davis' great naughty Southern belle role, co-starring Henry Fonda and Fay Bainter. [07 Jul 2006, p.C7]

25th Hour struck me as one of the best movies of 2002, but it's also a film that will strike some of its audience as ethically dubious or threatening.

A glorious work. [26 Dec 2008, p.C7]

My Left Foot celebrates the nurturing, healing power of the family unit while avoiding every cliche about the disabled. [2 Feb 1990, p.C]

A hard-core movie with a soft, light-hearted center and an edge like a knife.

Most important, several elements -- the film's tough, new ending; a sly, fleeting dissolve of a unicorn, not in the original; and a brilliant, trompe d'oeil flicker of life in a shot of a still photograph -- bring Deckard's existential dilemma into focus. [11 Sept 1992]

No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.

The most purely enjoyable of all the great Ford films. [18 Sep 1998, p.J]

I loved this movie madly, and so will many of you.