Hitchcock does a masterful job blending all of Vertigo's diverse elements together. It's a love story, a mystery, and a thriller all rolled into one. It deals with issues of obsession, psychological and physical paralysis, and the tenuous nature of romantic love. Vertigo should really be seen more than once to be fully appreciated. Many of the darker, deeper aspects only begin to bubble to the surface on subsequent viewings. [Restored version]

The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.

Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact.

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

The film surprises with its narrative twists and turns, making the overall trajectory unexpected and the endpoint different from anything one might have expected at the beginning.

Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-one…This movie is both grimly funny and thought-provoking.

No Sudden Move represents [Soderbergh's] best post-“retirement” effort and this is a real treasure for those with an affinity for ensemble crime movies.

Damon's prior appearances as Jason Bourne make him credible in this role.

While having a female director perhaps gives Wonder Woman a subtly different perspective, the real strengths of this production are its lead actors, the period piece setting, and an unexpected emotional resonance that one doesn’t expect from a popcorn movie.

Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)

De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.

This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.

This is truly a movie that children and their parents can both enjoy for different reasons.

Downfall and Bruno Ganz are deserving of Oscars they will not get.

A warm and loving Valentine to the San Fernando Valley of the 1970s, it never allows nostalgia to overwhelm narrative, although there’s plenty of the former to go around.

It’s exceptional escapist entertainment for those who don’t mind a little spice sprinkled into their cozy mystery.

Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.

Despite being slow and deliberate, it is often compelling and occasionally riveting. As "The Lives of Others" was in 2007, this is the first memorable movie of 2008.

The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).

With Hammett's dialogue incorporated virtually verbatim into the screenplay, Bogart in top form, and Huston allowed total directorial freedom, watching this first of the films noir is an experience to be embraced.

Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.

Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.

This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.

The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.

By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.

Although the picture has not aged as well as some of its contemporaries, its themes remain germane, the story has lost none of its punch, and the performances retain their freshness.

Back to the Future is played neither entirely seriously nor entirely for laughs, and therein lies the nature of its success. It's funny and breezy but doesn't descend to a level where the characters are little more than props for jokes.

A delightfully loopy comedy about the hijinks that occur when families collide.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

It’s a seamless continuation of the stories and relationships introduced in Zootopia, moving things forward without making any radical changes to the underlying formula—and that consistency may be exactly what audiences want from a return trip to this animated menagerie.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

A fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic.

While the legal stuff provides the film’s crowd-pleasing element, some of the foundational building blocks give The Last Vermeer a little heft, elevating it to a level where one is almost tempted to call it a quasi-art house production.

Moana is an entertaining and worthy way to close Disney’s 2016 animated roster.

The movie isn’t quite as unhinged as the trailer indicates but it’s far enough off the beaten path to provide enjoyment for those who enjoy their blood & guts served with a twist.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

As animated films go, this is easily the best of a weak year.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

By avoiding the temptation to rail against religion and instead offer an introspective and respectful look at it, Novitiate becomes that rare thing: a movie willing to show the flaws of Catholicism without dwelling on its negatives.

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

Here’s a rare example of a Netflix prestige film that neither runs too long nor overstays its welcome. While some of the A-list directors working for the streaming distributor have taken the opportunity to meander and add bloat to otherwise worthwhile projects, Ron Howard has developed this project exactly as he would have made it if it had been intended for a traditional release.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.

Green Book avoids sanctimoniousness in presenting this heartfelt, if sometimes familiar, story of mismatched strangers who learn to overlook boundaries of race, sexual orientation, and class as circumstances force them to rely on one another.

The result is a grim, startling motion picture.

Girls Town does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

Darkly effective, and its grip lasts longer than we might be entirely comfortable with.

Bright, colorful, and exhilarating.

The result is an effective portrait of a damaged individual uncertain about the meaning of love and commitment and the two key relationships in his life that teach him lessons about both.

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

[The film] occasionally had me convulsed with laughter.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

This is a film of powerful ideas, impressive set design, and compelling performances.

A tender movie about a poignant and difficult subject.

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.

A feel-good movie that offers enough comedy and romance to warm the heart without risking a sentimental overdose.

The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.

Historical fudges aside, Hidden Figures provides an example of determination and talent triumphing over an unfair and repressive system.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.

A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.

The three leads provide convincing performances, with Dakota Fanning being the standout.

The movie’s failings come during its final act when contrivances and an adherence to big budget conventions transform Passengers into a less compelling experience than what it starts out as.

The movie eventually achieves a level of powerful drama…but only after dithering for more than an hour.

The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.

The strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy.

The Vanished Element provides an opportunity for those who enjoy the conceits and stylistic approach of neo-noir thrillers but are looking for something less entrenched in the standard narrative structure.

Easy A may not be a great movie, but it is a knowing and enjoyable one.

Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.

The effectiveness of the film’s overall aesthetic cannot be understated: what F1 lacks in narrative development it more than compensates for with its thrill-ride aspects. Watching the film, you may not believe you’re in a racing car but you will feel like you’re doing more than passively sitting in a theater seat.

What Brown Sugar lacks in originality, it makes up for in charm.

Using parody as its means, Fear of a Black Hat has a lot to say about the exploitation that surrounds the rap music business. This movie is not tightly-scripted or elegantly produced, but it is (for the most part) highly entertaining. For those who have been waiting for a sequel to Spinal Tap, this may be the best alternative.

The sequel often plays like pro-Biden campaign propaganda. This film isn’t going to be warmly embraced by many Republicans. Sacha Baron Cohen doesn’t simply skewer them; he spit-roasts them over a roaring fire.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

he movie is funny enough to get its share of laughs but, in its angry heart, it’s a tragedy - and the saddest part is that too much of this story is true.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

As counter-programming to the early summer season's blockbusters, this delivers better than a lot of the more expensive titles against which it is competing. It serves as a potent reminder that a well-crafted atmosphere and a singular, focused vision can be far more terrifying than a hundred million dollars' worth of digital effects.

I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.

Valkyrie, despite being a more straightforward thriller, is less gripping than "Downfall," the most recent film in which Hitler had significant screen time.

Doctor Sleep is more straightforward and narratively clean than "The Shining." Although too long by at least 20 minutes, it is more accessible and doesn’t overly penalize those who haven’t seen (or don’t remember) the original movie.

At its best, this movie is searing. It pinpoints many of the little talked-about aspects of divorce that seem the least significant but hurt the most. It also eviscerates the practice of Family Law without apology.

The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.

Those who are familiar with Bourdain from No Reservations or Parts Unknown will appreciate the opportunity to peer through the different facets of Neville’s prism. Those who don’t know Bourdain from Emeril Lagasse may not find Roadrunner as compelling but are likely to enjoy the warts-and-all approach employed by Neville in examining Bourdain’s life.

Iron Man 3 has the stuff to please the devotees and divert everyone else, which is pretty much what's expected from the curtain-raiser of any summer season.

For those with a taste for outrageousness and an appetite for horror, there's no juicier meal than the Evil Dead movies.

Even had it possessed a less intelligent script, After Life would have been intriguing on the basis of its central conceit alone. However, with Kore-eda's skillful hand behind both the camera and the pen, the result is a rewarding cinematic experience.

At long last, someone has crafted a worthwhile superhero spoof.

At times darkly funny and at other times depressingly tragic. It's safe to say there aren't any movies out there quite like this one.

While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.