Alexandre Dumas pere's 1844 novel has been filmed more than four dozen times, but this lavish and hilarious rendition is the pinnacle. [21 Sep 2007, p.38]

Thirty-five years later, Rene Laloux's surreal animated film remains a singular psychedelic experience. For the uninitiated, think Yellow Submarine but way more arty, trippy and funky. Highly recommended.

Lee Marvin does the best acting of his life as Hickey, the usual life of the party who shows up this year sober and intent on ridding his drunken pals of their "pipe dreams." [04 Apr 2003]

Director Donald Siegel of ``Dirty Harry'' fame produces a suspenseful, fast-paced suspenser, film, providing numerous offbeat twists and turns along the way. [08 Nov 1996, p.37]

Kidder's performance as Danielle is a highlight, creating a childlike woman who is beguilingly naive yet obviously fraught with peril. [22 Sep 2000]

Kennedy fills this with Western cliches, character actors and sprawling action. [09 Mar 2001]

Trafic is a relative trifle but nevertheless delightful.

It’s one of those wonderfully depressing 1970s films that perfectly captures the era’s malaise. [29 Apr 2016, p.R19]

It’s considered the first of Ozu’s string of late-career masterpieces, which makes it a must-see for any fan of cinema. [10 Jun 2016]

This is decidedly not for everyone, but many consider it an offbeat classic. [03 Nov 2006, p.45]

It's not a question of Lucas' right to revamp his own work -- the movie simply was much better without these absurd additions.

Movies don't get any more real than this.

Thirty-five years since its debut, The Conformist is still a stunning, challenging, transporting film.

In this loose adaptation of Sheridan LeFanu's Carmilla, Ingrid Pitt became a Hammer favorite as a lesbian vampire. This has a few nude scenes and Cushing; something for everyone. [22 Aug 1977, p.38]

Avoiding the hyperbole and condescension that sometimes make it easy for ideological foes to dismiss the likes of Oliver Stone or Michael Moore, Costa-Gavras relies on the sterling performances of his actors (including Irene Papas as Montand's widow), and was rewarded with a pair of Oscar nominations.

Robert Redford makes a convincing member of the U.S. Olympic Ski Team in this exciting and thoughtful Michael Ritchie film about the sacrifices and compromises made -- or not made -- for a chance at a moment's glory. [26 Feb 1999]

With much dialogue coming from the Charles Portis novel, this is an exceptionally clever and eloquent Western with surprising levity among the mayhem. [01 Jun 2007, p.34]

Easygoing James Garner, befuddled Jack Elam, feisty Joan Hackett and townsfolk resist land baron Walter Brennan in a reprise of his "Clementine" role. [09 Mar 2001]

This film put Cassavetes on the cinematic map, even though at 90 minutes, it was 4.5 hours short of Cassavetes' intended version, which exists now only in published script form. [19 Sep 1997, p.36]

By today's standards the sexuality is fairly discreet, the color cinematography is brilliant and the sense of absurdity marks this as one of Meyer's bust, er, best, efforts. [22 Oct 2004, p.39]

Leonard Whiting, 17, and Olivia Hussey, 16, look right: tender and beautiful. And, as carefully coached, filmed and edited, they perform creditably. [09 Apr 1999]

Slow, contrived and monotonously grim. [18 Aug 2006, p.45]

This genuinely irreverent film is one of the few to dabble in theological humor. It's wicked, but only up to PG-level heresy and impiety. [03 Apr 1998, p.38]

This film is the first to deal with Earp's obsession to kill all Clanton gang survivors after the shootout. Garner is not ideally cast here. [20 Oct 2000]

The film is one of the great portraits of the artist as impossibly gifted young snot. [31 Dec 1999]

Orson Welles brings Shakespeare’s Falstaff to life in this passionate, ramshackle adaptation that draws on five different plays for its dialogue. Plagued by a low budget and other production snafus, it was initially disregarded but now ranks as one of Welles’ finest achievements. [04 Mar 2016, p.R22]

One of the most alluring and bizarre shapes that Godard's itchy search for truth and meaning took in those heady long-ago days. In comparison, most Hollywood movies are like tiddlywinks.

Godard's 1964 dreamy yet cynical masterwork holds up as a both remarkably sad and thrilling comment on living life as if in a movie. [07 Dec 2001]