This movie, a diary of a freewheeling, far-flung installation art project, combines chance and intuition and a humane eye.

Days of Heaven is the grand climax of the whole "Bonnie and Clyde"-"Badlands" tradition of outlaw-lovers-on-the-run movies. Shot by Nestor Almendros and the uncredited Haskell Wexler, it's a cinematographic masterpiece. [20 March 1998]

It’s a rare movie that settles, quietly, into some part of your own experiences and memories without a speck of narrative contrivance gumming up your response to the story on the screen. Past Lives is that rarity.

Chimes at Midnight is one of Welles' peak achievements. Its depth of feeling seems very real, very deep indeed.

Like all great fantasies and epics, this one leaves you with the sense that its wonders are real, its dreams are palpable.

Badlands is about a landscape as much as the couple fleeing across it. Watching it, you sense that Malick finds his outlaw lovers beautiful and terrible, pathetic and monstrous, funny and overwhelmingly sad. [27 March 1998]

Chalamet is excellent, saving his purest acting for the killer final shot several minutes in length, when we finally see what these weeks with Oliver have meant to him.

Beautiful, witty, sad and hopeful.

There is only one problem with the excitement generated by this film. After it is over, you will walk out of the theater and, as I did, curse the tedium of your own life. I kept looking for someone who I could throw up against a wall. [8 November 1971]

Regarded in Japan as one of Ozu's masterworks, Early Summer is another tale of a dutiful daughter, Noriko (again played by Setsuko Hara), the machinations around her marriage and the quiet havoc it wreaks in her family. [17 Apr 2009, p.C4]

Stone is spectacular, and she's reason enough to see La La Land. Chazelle is a born filmmaker, and he doesn't settle for rehashing familiar bits from musicals we already love. He's too busy giving us reasons to fall for this one.

Watching Lady Bird is like flipping through a high school yearbook with an old friend, with each page leading to another anecdote, another sweet-and-sour memory. It’s a tonic to see any movie, especially in this late-Harvey Weinstein era, that does right by its female characters, that explores what it means to be a young woman on the cusp of adulthood, and that speaks the languages of sincerity and wit.

Irons' Von Bulow is easily the most attractive and entertaining movie heavy since James Mason's villain in ''North by Northwest,'' a figure with whom he shares a taste for elegant homes and wry understatement. [17 Oct 1990]

Bravo shines with humor and character. [28 Jul 2006, p.C10]

This is sublime work, with poetry and prose in unerring balance, thanks to writer-director Payal Kapadia.

One of the quintessential '60s foreign art films, a bizarre melange of pop music, revolution, sex, movie allusions and poetry. It's a masterpiece of sorts by one of the most important European filmmakers of that era. But it's also a movie that can drive you crazy.

The Four Marx Brothers -- Groucho the Gabber, Harpo the Honker, Chico the Chiseler and Zeppo the Zero -- were the wildest, most anarchically funny movie comedians of their era. (Of any era.) And this is the high water mark of their unique cinematic insanity: a ferocious satire on government, war and diplomacy that leaves no propriety or pretension unpricked, no sacred cow unslaughtered. [19 Sept 1997, p.O]

A definitive spy thriller and one of the masterpieces of Hitchcock's British years, The 39 Steps is one of those paradigm classics that influence filmmaking for decades afterward. [21 Sep 2007, p.C10]

It has found a considerable, gratefully discombobulated audience all around the world, and it deserves one here.

It’s a riveting and humane experience pulled from the rubble of a never-ending war.

The latest nerve-shredder from Josh and Benny Safdie is worth seeing, even if it’s not their finest two hours, and even if half of any given audience will resent the hell out of it. Adam Sandler’s excellent.

Altman's dreamy, snowy northwestern about wily operator McCabe (Warren Beatty), sexy Madame Miller (Julie Christie) and a bittersweet tale of how the West was unzipped. [04 May 2007, p.C2]

Folk standards such "500 Miles," "The Death of Queen Anne" and "Dink's Song" infuse the movie, and as in the Coens' "O Brother, Where Art Thou?" T Bone Burnett has done first-rate work supervising the musical landscape. The film, I think, falls just a tick or two below the Coens' best work, which for me lies inside "A Serious Man" and "Fargo."

The great "coming home" film of World War II. [28 Nov 2008, p.C7]

Blends a love of semi-trashy pop entertainment with a love of poetry, art and high moral seriousness. It's a young person's movie (Godard was 34 and Karina 24 in 1964) that retains its mysterious pull even as the film and we get older.

Superb performances by John Wayne, Claire Trevor and Thomas Mitchell -- who won the Oscar for best supporting actor -- make for an authentic classic that has been copied but never equaled. [25 Feb 2008, p.C8]

Sometimes cinema's highest achievements become clear only in retrospect. Days of Being Wild--now clearly revealed as one of the peaks of Hong Kong filmmaking and a masterwork of contemporary cinema giant Wong.

As written by Field and modulated, brilliantly, by Blanchett, Lydia becomes a rhapsody in contrasts, controlling, fastidious, witty, steely, imperious, hubristic. It’s a huge, showy role, and the beautiful paradox — one among many here — is that Blanchett has never been subtler.