A sleek, accomplished piece of work, meticulously controlled and completely involving. The dark end of the street doesn't get much more inviting than this.

In short, Wonderland is an extraordinary film, as entertaining as it is observant, about ordinary people.

The Manchurian Candidate proves that its fascination is intact. [12 Jan 1998, p.C1; Re-Release]

It was this ineffably poignant semiautobiographical reverie that unleashed fully Fellini's shimmering, flowing poetic style, echoed perfectly in a plaintive score by Fellini's potently evocative collaborator, Nino Rota.

Echoes the unmistakable freshness and excitement of the Nouvelle Vague, the sense of joy in being alive and making movies, that made those works distinctive and unforgettable.

Offers breathtaking comic-action fantasy….Exhilarating and sharp, it never stops for a second. [9 April 1999, Calendar, p.F-6]

More elaborate than the original, but just as shrewdly put together, it cleverly combines the most successful elements of its predecessor with a number of new twists (would you believe a kinder, gentler Terminator?) to produce on e hell of a wild ride, a Twilight of the Gods that takes no prisoners and leaves audiences desperate for mercy. [3 July 1991, Calendar, p.F-1]

A dazzling epic of love, guns, gangsters and cigarettes.

One of those entertaining confections that's so pleasing to the eye and ear you'd have to be a genuine Scrooge to struggle against it.

Deliciously funny and fiendishly clever con-man comedy that begins on a note of ingenuity that it then sustains with the tension of a high-wire act.

A convulsively funny affair.[15 July 1988, Calendar, p. 6-1]

A brilliantly conceived epic fable.

The film's three leads are extraordinary, but what Moore does with her role is so beyond the parameters of what we call great acting that it nearly defies categorization.

As essential in its own way as Anton Karas' celebrated zither work was to "The Third Man," Lola's music is perfectly suited to the film's aims and just about addictive in its throbbing, insinuating rhythms.

Rising to crescendos of emotion usually reached only by tenors and sopranos, these characters are the beneficiaries of the luminous writing of the novel and screenplay as well as the expert performances of the actors, especially Scott Thomas.

A complete original. This ingenious, almost indescribable film won't remind you of anything else because there's nothing else like it.

Superb -- Crammed with incident, and bristles with passion and energy. Tavernier treats his actors, every last one of them impressive, as an ensemble.

His is a triumph of pure filmmaking, a pitiless, unrelenting, no-excuses war movie so thoroughly convincing it's frequently difficult to believe it is a staged re-creation.

The film is a glittering triumph of personal expression at its most elegant and opulent.

The extraordinary quality of White's script and Arteta's direction lifts the meticulously cast actors to the height of their abilities. "Friends" star Aniston digs deep but is never showy. Reilly reveals the tenderness, vulnerability and hidden depth that can lurk within a slob, and Nelson has some of the film's most outrageously funny and inspired moments.

An astonishing technological feat, but what is even more remarkable is that the technology does not overwhelm the artistry.

A savage comedy about the war in the former Yugoslavia that artfully mixes comic absurdism with a passion for what's right and a concern for the individuality of all concerned.

If film means anything to you, if emotional truth is a quality you care about, this is an event that ought not be missed.

Disturbing, disorienting, quietly terrifying, it's one of the least known of the world's great horror movies and, in its own dark way, a startlingly beautiful and artful piece of cinema as well.

While most films are fortunate if they succeed on any level, The Return works easily on several, making as powerful a mark emotionally as it does visually and even allegorically. Yet the film so catches you up in its compelling story, you're almost not aware of how masterful a piece of cinema you're watching.

If in Bresson's films nothing ever seems out of place or superfluous it's because he strove to find the essential truth of the image. Not an image or sound is wasted -- or offered up in self-glorification -- and from such seeming simplicity there arises a world of feeling.

The most convincing war movie ever made.

Achieves its success through a combination of attitude and technique, uniting, to exceptional effect, a way of viewing the world morally while looking at it physically.