Easily the best thriller of this or any other recent year...It's the film that marks him as a genius, that proves the auteur (or authorial) theory of filmmaking all by itself. It's the movie that shows a distinctive stamp, the movie that could not possibly have been made by anyone else. And most important, Vertigo is immensely entertaining. It has great peformances from its stars, an overtly Wagnerian score from the celebrated Bernard Herrmann and a plot that is almost hopelessly complex. Almost. [23 Dec 1983, p.D1]

Sometimes, the simplest, smallest things require the greatest courage. Moonlight is Miami’s first bonafide movie masterpiece.

It leaves you feeling exhilarated at the invigorating power a well-told story, no matter its subject, can have. If you like Harry Potter, you will love this movie. If you don't like Harry Potter, you will still love this movie.

The remarkable Hoop Dreams proves that even at its best, Hollywood can't match the drama of everyday life. This rich and insightful documentary, which traces five years in the lives of two Chicago inner-city kids, is more compelling than anything a pack of scriptwriters could ever concoct. [21 Oct 1994, p.G5]

What you come to see are the strokes of a visual master. You will not be disappointed.

The direction, by Jim Sheridan, is tough-edged. [27 Oct 1989, p.G7]

Brilliant, suspenseful, absolutely riveting film.

Offers a ride worth taking -- an excursion through a fantastical pop universe that is pure, enchanting magic. Try it; you'll like it.

One of the best things about 12 Years a Slave is that McQueen renders all the characters with the same depth and complexity as his protagonist.

But this is also his funniest, nimblest picture: There are long stretches in it that could pass for a comedy.

An extraordinary movie that ruffled many feathers when it first came out. Almost 40 years later, it retains the poignancy it delivered back then. Its message is not lost in our present state of affairs.

Lester managed to come up with a movie that not only holds together as a film but one that has proven timeless and rewards repeat viewings.

Has the sort of richness and dimension that are the hallmarks of master storytellers at work.

And the animation, ultimately, is what makes Snow White and the Seven Dwarfs worth seeing again on the big screen. Aladdin may have grossed more than $200 million, but even its state-of- the-art, computer-assisted animation can't surpass the detail and fluidity, the denser-than-reality feel, the astonishing palette (check out the red on the poisoned apple) of the film. Watching it, you don't forget it's a cartoon: You relish that it is. What bigger compliment is there than that? [2 July 1993, p.G5]

Seydoux says that when the film was completed and released shortly after the end of the war, it became a symbol of freedom.

Gravity is a celebration of the primal pleasure of movies: It shows you things you’ve never seen before, transports you out of the theater and out of your head, tricks you into believing what’s happening on the screen is happening to you.

Beauty and the Beast is so funny, exciting and suspenseful that its obvious moral (appearance can mean nothing; it's what's inside that counts) is engaging rather than perfunctory. [22 Nov 1991, p.G11]

Delivers the heady, rib-tickling rush of an action picture, and it gradually builds to an emotional wallop that blindsides you.

This is the sort of small, intimate drama about unpleasant subject matter Hollywood rarely deals with, but Haneke isn't worried about turning off his audience, because death is something everyone has in common. It fascinates us, the way it also scares us.

Like every war before it, the U.S. invasion of Iraq has generated its share of movies. But The Hurt Locker is the first of them that can properly be called a masterpiece.

Maya is as consumed with finding bin Laden as Jake Gyllenhaal was obsessed with finding a serial killer in "Zodiac," only he was doing it as a hobby.

The movie has such a profound and compassionate understanding of human behavior, family ties and the way ordinary people respond when they're forced into a moral quandary, I can't imagine anyone not being transfixed by it.

This is a beautiful movie.

The movie, shot in lovely, grainy 16mm by cinematographer Ed Lachman, is so elegantly staged you can practically smell the characters’ perfume. Haynes’ direction is methodical and precise without being fussy or oppressive. Every detail has been weighed and considered.

The film is far from a downer. If anything, more than any of the films in the trilogy, this one may be the most hopeful - and the most affecting.

The movie is filled with small, loaded moments that resonate like gunshots in an echo chamber.

Rarely do you see first-rate melodrama welded to first-rate political satire. [13 May 1988, p.D5]

Jeanne Dielman is not for all tastes. But for those with the necessary patience, it is a game-changing masterpiece. [11 Sep 2009, p.G18]

Isao Takahata, Studio Ghibli's second best-known filmmaker and co-founder, adapts Akiyuki Nosaka's short story of the same name to great effect, using animation to create a film that emphasizes the horrors of war better than most live-action films. [21 Jun 2016]

A soaring, exhilarating fantasy grounded in earthy emotion, Crouching Tiger more than lives up to the hype.

It's a fine mix of suspense and character study. [02 Mar 1990, p.G41]

If Inside Out doesn’t stack up with the best Pixar movies (Wall-E, Finding Nemo, Toy Story), that’s because there’s less plot here than usual, and even at a lean 95 minutes, the movie starts to drag a bit just before it ends.

What makes it the best movie of the year -- is its insight into human behavior.

Underneath its sometimes frothy and often witty trappings, it’s a wistful meditation on the inevitable losses that accompany growing up and moving on. The real mood is captured perfectly in Judy Garland’s bittersweet rendition of Have Yourself a Merry Little Christmas. [16 Dec 2012]

Sunset Boulevard is one of those films which serve as milestones in the progress of the motion picture toward its goal of an entertainment art. [08 Sep 1950, p.22]

Feels like a miracle, a movie that exceeds even the most formidable expectations without straying from its singular path. All hail this King.

Part of the accomplishment of Carlos is the sheer accumulation of detail the movie amasses, and the longer running time gives you a deeper sense of the terrorist lifestyle, and when and why Ilich gradually succumbed to ego and self-glorification without realizing it.

Here is a celebration of the artistic drive that is also a daring feat of showmanship, as technically accomplished in its own way as “Mad Max Fury Road” or “The Revenant."

Inside Llewyn Davis is one of the Coens’ smallest movies — this one doesn't have the broad appeal of "True Grit" or "No Country For Old Men" — but like Llewyn’s music, it comes from the heart and it is deeply felt. It is also one of their best.

A best picture Oscar winner, and one of the finest of all American films. [04 Aug 1989, p.37]

The fact that that character happens to be so repellent -- and yet so endlessly fascinating -- is one of the film's many strokes of genius.

Brother's Keeper is fascinating. It doesn't answer all the questions, but it illuminates life in a small, strange and in some ways wonderful place. [16 Nov 1992, p.C3]

Spotlight is simply a great story exceedingly well told, through characters whose fingers are perpetually stained with ink.

If Close-Up is not much to look at, it certainly enthralls the mind. [09 Feb 1996, p.16G]

Skillfully straddles an intriguing line between reality and fiction.

Platoon lacks the sweep, the heroic (and anti-heroic) vision of Apocalypse Now, and it lacks that film's signal strength, which was its evocation of the visceral appeal, the sheer romance of war, at least to those not fighting it. Some of Coppola's images in Apocalypse Now were among the most beautiful in contemporary film. Platoon is merely terrifying. [16 Jan 1987, p.6]

A model of pitch and modulation and craft. For two hours, the Coens hold you in their grip so tightly that for long stretches it feels a little hard to breathe.

In The Act of Killing, director Joshua Oppenheimer pulls off the impossible: He confronts great, incomprehensible evil and puts a human face on it.

Jackson's dazzling vision turns the story into a real movie-movie -- one that, unlike too many fantasy films today, is genuinely transporting.

It’s a cry of despair and soul-shaking desperation, leavened with shades of Dostoyevskyan angst.

As film noirs go, this one is a classic.

A worthy and delirious final chapter to this hallowed animation franchise.

The key to the movie's success is that it was made by people who know and doubtless even enjoy rock in all its infinite, often tedious variety. This distinguishes Spinal Tap from the usual run of spoof, created at a distance by bemused outsiders (Johnny Carson in a mop-top wig, etc.). Reiner and company actually understand the media they are lampooning; the result is not only funny, but lethal. [27 Apr 1984, p.D1]

More than once during The Fast Runner (Atanarjuat), it's easy to forget you're watching a movie.

It's a sign of just how much Coppola respects her characters that she doesn't make us privy to that final line: It is only meant for them to share. But like the rest of the ethereal Lost in Translation, you don't need to have it spelled out in order to feel it.

Her argues that sometimes, crazy can be wonderful.

The movie itself is a nominee for Best Animated Feature, and it's good enough to pull a surprise upset over the beloved Finding Nemo. It's a mad masterpiece.

If only Beau Travail had a more dramatic edge, this nicely done film wouldn't have felt so long.

Waltz With Bashir isn't only a harrowing anti-war plea, it is also an eloquent and deeply moving argument that it is critical to never forget human atrocity, lest the past be repeated.

A unique bond still develops between the two outcasts, leading to an unexpected resolution that ends this subtle, deeply humane movie on an ambiguous, but unmistakably hopeful, note.

It is long. Very, very long...And it feels its length, feels every bit the 190 minutes of it. This is a problem for a movie. A movie can be any length at all if its audience remains unaware of its artifice, remains suspended in time. But in The Right Stuff, we are always aware that there's a movie going on, rather than lives on a screen; by the end, there is the feeling of having been dragged through recent history, feet first. The Right Stuff is exciting from time to time; it has its jolts and its snaps and its nostalgic tweaks. But there is more to a roller coaster than a bumpy ride, and The Right Stuff does not thrill. [16 Oct 1983, p.L1]

Although it is technically a sequel, Before Sunset stands perfectly well on its own. In fact, the new movie plays better if you haven't seen the original for a while, so its details have grown appropriately fuzzy.

With Mad Max: Fury Road, director George Miller delivers the sort of jumbo-sized entertainment that makes you spontaneously break out in appreciative laughter: The breadth of his imagination and showmanship makes you giddy.

It's not always an easy movie to watch, but its characters are unforgettable.

The Queen taps into the universal curiosity the world shares toward royal families -- an element of the movie that Frears wisely mines for gentle humor.

What Bloody Sunday lacks in clarity, it makes up for with a great, fiery passion.

The sexual content may be excessive (the movie could have gotten by with just one scene instead of three) and the running time a bit indulgent, but Blue is the Warmest Color grows in power and intensity.

American Splendor reminds you that sometimes, simply getting out of bed each morning can be the most heroic of acts.

So deliciously absorbing and well done.

It's the filmmakers' refusal to sugarcoat their tale's darker subtexts that makes Finding Nemo such a resounding piece of storytelling.

A joyous, amazingly detailed paean to imagination and personal expression that dares -- and succeeds -- to illustrate one of the most mysterious enigmas of all: the creative process.

This is the most impressive directorial debut since"Reservoir Dogs." Being John Malkovich is weird, all right-- the best kind of weird, the kind you haven't seen before.

A visually thrilling experience.

Most prison movies are about escape or survival. A Prophet (Un Prophete) is about the creation of a consciousness. This one, too, could have been called “An Education.”

A rich, marvelous movie -- the kind that enchants on so many different levels, it leaves you feeling giddy.

I can't imagine anyone seeing Once and not instantly falling in love with it.

The movie is quiet and serene, but it stirs and inspires and amuses. In the small details of an ordinary life, Jarmusch finds wells of beauty and empathy. The movie is an exploration of the deep pleasures of creativity.

There's nothing about United 93 that qualifies as entertainment in the traditional sense: It is an unpleasant, wrenching experience, which is just as it should be.

This remarkable, continually surprising documentary turns out to be something far richer and more complex, closer in spirit to "Crumb," another devastating film about a family's gradual self-destruction.

Like his con artists are prone to saying, American Hustle works from the feet up, and the fun is intoxicating.

This is a story that in hindsight we can see was waiting for Scorsese to come along. He did. The result is wonderful. [17 Sept 1993, p.G5]

A thoughtful, audacious meditation on love and relationships that finds a group of wildly disparate talents clicking together in perfect unison.

The film’s true subject, though, is innate talent — for music, writing, painting, sculpture, plumbing — and the superhuman lengths we sometimes have to go to in order to wring it out of ourselves.

Beautifully textured and layered movie.

The result is one of the most visually astonishing martial-arts fantasies ever made.

Despite its all-around good performances (Pomeranc in particular is a marvel), Searching for Bobby Fischer can't quite shake its overly familiar feel. We've seen this all before, many times. It's a diverting, undemanding piece of work though, and you don't have to know a single thing about chess to enjoy it. [11 Aug 1993, p.E3]

Cotillard, who earned a Best Actress Oscar nomination for her performance, plays the character as a woman hanging on by the barest of threads.

As suspenseful as a full-blown thriller.

Unabashedly frank in its depiction of sex -- too frank, probably, for more discreet viewers -- but it's never exploitive or seedy.

It takes some exceptionally intelligent and witty people to make a dumb comedy this funny and perceptive: Borat may be offensive (to some), infantile, low-brow or even just a stunt, but you won't hate yourself in the morning for loving it.

A family film to treasure. [02 Mar 1990, p.G41]

The most remarkable aspect of Charles Ferguson's lacerating documentary about the U.S. invasion of Iraq is that the film contains virtually no new information, and yet its message is as compelling as if we were hearing it for the first time.

The movie isn’t a thriller, but it still generates a strange sort of emotional suspense - an incredibly intense drama that makes you hold your breath, and it builds toward a total knockout of a final scene in which the story is resolved with hardly a word.

A brazen stunt that pays off. Writer-director Michel Hazanavicius, simultaneously channeling "Singin' in the Rain" and "A Star is Born," tells a story about 1920s Hollywood made in the style of that era.

Film students should be thankful that companies such as Milestone Film & Video have taken up the distribution and restoration of important silent films, and that universities and museums have decided to screen these obscure classics.

Letters From Iwo Jima, much like any war movie, honors the courage of men who took part in a war not necessarily of their making. But by placing us on the opposite side of the battlefield, the movie forces us to approach it from a fresh perspective.

The film’s visual artistry works as an ideal counterbalance for Kaufman’s heady brand of middle-aged despair.

The Lion King is everything you'd expect it to be: utterly charming, dazzling, rapturous entertainment. It's one for the ages. [24 June 1994, p.G4]