With this film, every layer that you peel away leads to something deeper and richer. Tarantino makes pictures for movie-lovers, and Pulp Fiction is a near-masterpiece.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.

The twists taken by the narrative, the quality of the performances, the superlative cinematography, and Berri's masterful direction make this one of the best motion pictures ever to cross the Atlantic Ocean.

A sumptuous motion picture, a feast for the senses.

While no one is going to place Costner alongside Laurence Olivier in the acting department, he brings a likability to Dunbar that many better performers might not have been able to match.

While a child might be affected by the film, it takes the weight of a certain number of years to fully absorb what director Isao Takahata has put up on the screen.

To Kill a Mockingbird is a faithful adaptation of one of the 20th century's most important American works of literature. It is also a masterpiece in its own right. This is one of those rare productions where everything is in place - a superior script, a perfect cast, and a director who has a clear vision and achieves what he sets out to do.

Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]

Traverses a high wire between comedy and tragedy and does so without a safety net. Outside the Coen Brothers, it’s hard to find a filmmaker with that skill and with this production, McDonagh has placed himself in august company.

The Wolf of Wall Street joins "After Hours" as the most openly comedic films Scorsese has made.

If Apocalypse Now and The Deer Hunter are like slaps to the face, Platoon is a punch to the gut.

Today, nearly fifty years after it was made, Rashomon has lost none of its fascination or power. It's still a marvelous piece of cinema that asks unanswerable questions of great import.

Not only does The Wild Bunch illustrate Peckinpah's mastery of his medium, but it presents a story that is effective on nearly every level: the emotional, the visual, and the visceral.

The blend of quick-moving adventure, familiar faces, lowbrow slapstick, highbrow wit, and visual style offers more than one thing to just about everyone. And, with an ending that mocks the idea of happily ever after, Time Bandits concludes perfectly.

It's difficult to overstate how much of a rare find this movie is. Colombani and her cast remind us that the best thrillers are built upon superb writing and strong acting.

Simply put, Sofia Copolla's Lost in Translation is an amazing motion picture.

The post-World War II cinematic landscape is littered with big-budget movies about the conflict and the toll it took upon those who participated. Some of those pictures have become timeless classics and some are nearly forgotten. Few, if any, are as simultaneously thrilling, awe-inspiring, and tragic as The Bridge on the River Kwai

Passionate and magical, Forrest Gump is a tonic for the weary of spirit.

The Apartment represents Wilder at his most complete - seamlessly weaving the lighthearted and the serious without encountering a snarl or tangle.

Not only is it wonderfully entertaining, but the issues it addresses, and the way it presents them, are both universal and deeply personal. And therein lies The Wizard of Oz's true magic.

This is a high-wire thriller, full of masterfully executed twists, captivating dialogue, and a wildly entertaining narrative that gallops along at a pace to make three hours evaporate in an instant. Best film of the year? Yes.

Looper is a tremendous motion picture experience. Not merely a "very good" one, but a great one.

The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

There is something special about the production, with its brash, vivid style, indelible performances by movie icons, and bold mixture of violence and comedy, romance and tragedy.

Watching this film demands two qualities that are sadly lacking in all but the most mature and sophisticated audiences: patience and a willingness to ponder the meaning of what's transpiring on screen. 2001 is awe inspiring, but it is most definitely not a "thrill ride." It is art, it is a statement, and it is indisputably a cinematic classic.

The questions posed by Like Father, Like Son are universal in nature and the manner in which Kore-eda addresses them makes for superior drama.