From a purely narrative perspective, there’s nothing new here but like a new arrangement of a familiar tune, the slight changes make it fresh and enjoyable.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.

Although many of the themes in An Autumn Afternoon are timeless, the film itself represents a snapshot of Japanese lifestyle in the 1960s.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

The Big Sick has the qualities that could make it a sleeper hit. It’s funny, touching, and perceptive.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.

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.