Sensational documentary.

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.

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.

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]

A masterpiece of pop filmmaking -- a fantastic, exuberant entertainment that manages to be both sleek and substantial without being patronizing.

Seeing the Earth from the point of view these men saw it -- ''like a jewel hung in the blackness'' -- tends to put things in perspective.

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

The Hunchback of Notre Dame is an example of Disney animators at the very top of their craft -- and at their most daring. [21 June 1996, p.5G]

The movie is a furious, in-your-face whirlwind of emotions, but it’s never tiresome or bellicose, and its raucous, messy energy is invigorating.

In a year rich with animation options, Happy Feet stands head and shoulders above its competition.

Smashing, supremely engrossing picture.

Control Room may not seem all that compelling 10 years down the road. But right now, at this very moment, it is essential, imperative viewing.

Though all actors are up to the challenge, it is the plot that makes The Inheritance shine.

This is what we call a movie-movie, a movie that throws nuance and self-consciousness and artiness to the wind and concentrates on the slam-bam. It's richly entertaining, it's big, it moves fast. [10 Aug 1984, p.C1]

The Muppets may have been born out of a desire to revive a dormant franchise that was once a cash cow, but there isn't a single beat in the film that feels crass or opportunistic. This one is from the heart.

Damage is the kind of film that reminds us what Hollywood still cannot do. There aren't many kinds of movies that Americans don't make better than anyone else, but Malle shows us again that when it comes to murmurs of the heart, we still have a way to go. Be careful with this one: It will break your heart. [22 Jan 1993, p.G5]

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.

The movie is absolutely hilarious, a satire as brisk and fleet as a farce and as profane as a convention of Tony Montana impersonators.

The movie, engrossing as it is intentionally horrifying, is capped by a last-minute revelation that brings the story to a haunting, powerful close.

In House of Sand, shifting sands are not a cliché; they provide the essential emotional and visual elements that make this film memorable.

This delightfully twisted story about a boy and his (dead) dog showcases precisely what Burton excels at: blending the macabre and the heartfelt in a perfect, if oddball, union.

As this intimate, beautifully observed film unfolds, you realize that the story's themes -- the nature of love, the role of sex in relationships and the ways in which we learn to make peace with our guilty consciences -- are relevant no matter what age you happen to be.

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.

More of a warm breeze than a great gust, but its simple, smart pleasures carry the force of a hurricane.

I like Sesame Street a lot, and this is the first time that they have made a real movie, not a television show, and I think they should make another one soon. [02 Aug 1985, p.C5]

If you like guessing games, don't miss it.

If The Pianist isn't quite as devastating as "Schindler's List" -- the movie with which all other Holocaust movies must be compared -- it's because Polanski isn't interested in an expansive view of the war.

But this smart, genuinely creepy movie also feels <I>real</I>, which is why its horrors hit so hard. Fans of the scary stuff, run, don't walk.