Schnabel's film is so steeped in the visual that it is surely the purest of cinema.

The Class is a one-trick show: once you spot its approach, the narrative falls into a routine. To the "nsiders," the film is as familiar as an an aerial virtual reality ride would be to an airplane pilot. (This is hardly a surprise, since Bégaudeau was himself once an insider, though now safe in a film critic's chair.)

Like all of the renowned filmmakers’ best movies, this faithful adaptation of the Cormac McCarthy novel hasn’t aged a bit, its poetry and beauty growing starker, its themes gaining more relevance. An edge-of-your-seat thriller and an elegiac, gut-wrenching meditation on the passing of time and generational devolution, the now-classic feature showcases the brothers’ skills at their most stripped-down and rawest.

This new interpretation of the beloved classic absolutely deserves to be seen in theaters.

As a fan of stop-motion animation and the works of Ray Harryhausen and Henry Sellick, King Kong will remain the granddaddy of the art form and remains a classic for all generations.

An amazing accomplishment by Newman as the best fight man has left in him. There’s also an Oscar winning performance by champion Foghorn Leghorn sound alike George Kennedy.

The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled. [2002 re-release]

In the end, my question is whether Never Rarely Sometimes Always is meant to be just a story or offer something political to say in the great abortion debate. I’m certain the film exists to highlight the stories of young women forced to travel across state lines for abortions. Either way, there’s not enough of either to make it a compelling movie in the end.

Probably the best comment I could give it is that after sitting through the first two and 1/2 hours, I would have happily sat through another five. How long am I going to have to wait for that DVD Box Set?

Glazer’s film is marked by supremely judged restraint.

A black-humored, unflinching look at the Ugly American at his psychotic worst. And Tobe Hooper is at his best as a writer and director here.

To me, the film is boring, lifeless, too dreary for its own good, and has really annoying quirks and habits that just irritate me.

A towering achievement in cinema, music, and life art. Funnier and more prescient every time I see it.

Filho masterfully turns a tale of survival into a deeply human story about love, loyalty, and the cost of integrity under tyranny.

Like a brooding nightmare, Burning washes over audiences with passing visions of multiple lives, secrets and betrayals, all leading to no single, clean-cut or simple explanation.

The layering of multiple narratives on top of each other invites the viewer to reflect upon the numerous themes at play. The drama touches upon notions of one’s own identity, whether we can ever know another’s true identity, and the role of secrets in even the most intimate of relationships.

Achieves the impossible in taking a genuine socio-political tragedy and turning it into an anvil drama which will fray the patience of the most sympathetic audiences.

This is quite possibly the best Canadian film of all time.

There isn't another American screen actor who could have given this performance, not one who so deftly could have navigated the razor's edge separating the wiseacre and the wise.

Because of Little Women‘s grandeur, opulence, and density, it is impossible to deny that the cast was not greatly directed.

Breathtakingly inventive story.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

The film has an innate sense of wonder in every moving landscape, colorful character, or evocative performance.

The documentary is the great American story of the outsiders coming in and rising up. You need to see it.

The tragic, violent true-life tale that concerns Waltz with Bashir is rendered even more powerful in animated form than it would likely have in life-action.

Hit the Road is a gut-punch of a film, strikingly gorgeous, as tender as a mother’s touch, as uncompromising as an aggrieved father. Panahi is acutely, painfully aware of the infinite nuances of family, how humans interact, and how to slow down the pace for things to sink in, or simply take a breather, or even sing a song. It’s the best film I’ve seen this year.

World War I was a new kind of war, because of its use of planes, tanks, and artillery for the first time. Add in the impossible conditions of trench warfare, where men lived in their own filth and alongside piles of decomposing dead comrades—all brought to you in glorious 3D. Even more haunting is the fact that this is real.

The laughs in Anora come in so fast and frequently that they almost eclipse the underlying tension; things are constantly on the edge of exploding, amusement on the verge of anxiety.