Still seems close to the pinnacle of film noir. [Director's Cut]

A British horror classic, filled with enough creepy imagery to keep "normal" children awake at night, and parents looking over their shoulders at the "little monsters" plotting away in the room down the hall. [29 Nov 2004, p.C4]

Though much of Naked Lunch is flip, hip and hilariously funny, it never wanders far from a profoundly melancholic undertone - Cronenberg's unshakable sense of loneliness, isolation and anxiety. [10 Jan 1992]

Day-Lewis... the role of a lifetime.

Based on a one-act play by Ferenc Molnar, and scripted by Wilder and his frequent collaborator, I.A.L. Diamond, One Two Three is all-Cagney all the time. [11 May 2001, p.C2]

A kinetic delight, Reprise comes from director Joachim Trier, born in Denmark but raised in Oslo, Norway, and it’s a highlight of the filmgoing year so far.

The closing shot of Charlie Chaplin's face in City Lights, his heart breaking: the highest form of screen acting, the most effective tear extraction exercise the medium has yet to offer.

The star, again, is Mizoguchi's favorite actress, Kinuyo Tanaka, and the style is magisterial, exquisitely controlled--with Mizoguchi moving the story inexorably to an almost sublimely redemptive climax. [24 Mar 2006, p.C7]

Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.

It’s an unexpectedly emotional experience, seeing and hearing this luminous source of happiness again.

Moviegoers should be almost as entranced by the teeming, glorious landscapes and dark, bloody battlegrounds of Two Towers: astonishing midpoint of an epic movie fantasy journey for the ages.

"All right" doesn't begin to describe it. The Kids Are All Right is wonderful. Here is a film that respects and enjoys all of its characters, the give-and-take and recklessness and wisdom of any functioning family unit, conventional or un-.

This is a great and necessary document in support of a two-state solution. Even those who don't believe in such a solution may find their minds changed by The Gatekeepers.

Fantastic, exciting, a real cinematic/theatrical feast. [15 Oct 1993, p.I]

It remains an anti-war masterpiece. [09 Feb 2007, p.C6]

A picture that represents so much of what I want and rarely get from a movie -- a couple of hours filled with characters who are as exciting as the people I know in real life. [11 Dec 1981]

This is a sumptuous work, from its unconventional title sequence of a woman dancing hard in the streets to its provocative ending with conflicting quotes from Malcolm X and Martin Luther King Jr .[30 June 1989, Friday, p.A]

The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career.

It's as thrilling and lushly beautiful a movie as has been released all year, matched only by Zhang's epic "Hero." And I think this film is the more powerful.

It’s beautiful work, and not just because it’s beautiful.

An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other.

Audrey Hepburn is a physical wonder; Rex Harrison defines his role; and production designer Gene Allen is the hidden star. A big screen production for the entire family.

A movie about the passions of simple people, and it's done with such extraordinary empathy and commitment that it all but pulls you under. [29 November 1996, Friday, p.A]

The fans of their best work -- "Blood Simple, "Raising Arizona," "Barton Fink" -- now can add Fargo to the list, pushing the Coens to the first rank of contemporary American filmmakers. [8 March 1996, Friday, p.B]

James Dean's ultimate movie, Rebel Without a Cause is both a great teen picture--full of front-seat romance, fast-car thrills, adolescent alienation, nightmare suspense and all the nervy grace director Nicholas Ray could muster--and a perfect memento of the edgier side of the '50s. The sublime supporting cast includes Natalie Wood, Sal Mineo, Dennis Hopper and Jim Backus; together, they create one memorable scene and incandescent moment after another. [03 Jun 2005, p.C8]

1966 French masterpiece -- the finest, most deeply personal work of a filmmaker who has been compared, justifiably, to both Dostoyevsky and Bach.

Extremely moving, exceedingly droll, flawlessly voice-acted.

A brilliant work of the imagination capable of truly seizing and igniting our fantasies.