The race alone is well worth the price of admission.

Strap in, load up and hang on because Mad Max: Fury Road is a freaky, ballsy, phenomenal ride.

Amid all the hokey hill stuff, Lawrence's hard eyes and manner draw us in.

In some ways, The Queen is a comedy of manners - bad, good and archaic. The formal bowing and scraping surrounding Her Majesty is as hilarious as it is (apparently) accurate.

The Godfather PART II is the most ambitious American movie in terms of size and scope in recent memory. It goes much deeper than “The Godfather” in analyzing the twisted mentalities of these men who pervert the capitalist system for their own gain. The film is richer in texture and gives more evidence of social awareness.

Surges forward with barely a respite. It's like watching a propane factory burn, waiting for the tanks inside to explode, and when they do, we're right in the middle of it.

Overlong and dramatically thin.

As inventive as "Being John Malkovich," as psychologically quirky as "Ghost World" and as honest as the day is long.

No matter which floor you're on, the huge cast is extraordinary, and Altman gives the actors free rein to bring their characters to life despite such close quarters.

It's irrefutably art, and undeniably vital.

This stirring children's movie about separation anxiety is swimming with comic references only adults will catch, thus greatly expanding the potential audience.

A hive of broad, brilliant performances.

Gloriously inventive, delightfully nutty comic treasure is unlike anything you've ever seen. It's lunatic.

Clever, buoyant and surprisingly human.

Rahim and Arestrup are both so outstanding that if this were an English-language film, they'd probably be nominated for Oscars, too.

A great movie -- and the best movie ever about the '70s rock era.

A sunny-looking movie about the darkest paranoia.

Once isn't especially complex, but the chemistry between its appealing leads (who contribute to the lovely score) feels deeply true. You'd have to look awfully hard to find such sincerity in a Hollywood romance.

Paramount may have made a more appealing, more tenderly human and amusing picture than Going My Way, during its many years of film-making, but if so, I have missed it.

Paterson is poetic.

This is melodrama with broad theatrical flourishes, but Dietrich's sensuality is still a natural wonder, and with a new print, the Film Forum run offers a rare opportunity to see it big-screen-size.

There is no denying the emotional power of these scenes, but one wishes that Scorsese would end his Italian-American guilt trip and stop exposing mean-tempered, self-destructive characters like La Motta, whose personality problems, he apparently feels, stem from their cultural environment. Raging Bull ultimately has a numbing effect on the brain as if one's head had been pummeled by La Motta's so-called "girlish" fists.

The Gold Rush collars you, plays quickly upon your emotions and leaves you in that mood where you can't laugh without a sob tearing through, or sob without a laugh bubbling up from the depths of the understanding of laugh. [17 Aug 1925, p.79]

I wouldn't recommend the movie to anyone, but if the families of the victims take something positive from it, as their cooperation with Greengrass suggests they do, that's justification enough.

This extraordinary film refracts truth through the prism of memory, until what you get is a tragedy of Shakespearean dimensions, full of sacrifice and betrayal.

There’s a great fever-dream quality to David O. Russell’s American Hustle that instantly reels you in.

Star Wars is somewhat grounded by a malfunctioning script and hopelessly infantile dialogue, but from a technical standpoint, it is an absolutely breathtaking achievement.

The black-and-white animation won't dazzle your eyes, but everything else about Marjane Satrapi and Vincent Paronnaud's adaptation of Satrapi's graphic comic book series Persepolis will hold you in its thrall.