On the Waterfront may have baggage, but that doesn't prevent it from being one of the great American productions of the mid-20th century.

They Shall Not Grow Old isn’t just a compelling motion picture; it’s an important slice of cinema.

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

Here’s hoping the movie finds its audience because it’s one of the freshest and most audacious films available in this year’s sparse cinematic landscape.

The result may peter out on the way to an anticlimactic conclusion but it’s fun while it lasts and at least one of the three peerless female leads should get some kind of Oscar recognition. (My bet is on Colman.)

From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.

This is truly a great film -- easily one of 1997's best.

It rewards patience not only in the way it crafts its central character but develops the era in which it transpires.

In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.

For those who are willing to brave the movie's shocking and unforgettable images, Saving Private Ryan offers a singular motion picture experience.

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.

As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.

Talk about taking things to a new level… Theaters showing Fury Road should have seat belts installed.

It combines stylish direction, an intelligent script, first-rate performances, and overpowering atmosphere into one of the most tense and absorbing thrillers ever to reach the screen.

Winter's Bone is a welcome reminder that thrillers don't have to be loud and boisterous to grab the attention and keep it captive.

Although aspects of All of Us Strangers have a cheesy flavor, the raw honesty of the movie’s best moments propel the narrative through its less credible pitstops.

Close Encounters of the Third Kind is unquestionably a great movie.

As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.

One of the most compelling character-based films to emerge from the decade of the 1960s.

As an elegy to a perfect fusion of directorial mastery and an actor’s indomitable screen presence, it’s hard to imagine something more memorable and affecting than Red Beard.

The result is a grim, startling motion picture.

Watching Blue is the Warmest Color provides viewers with that rarest of motion picture opportunities: the ability to lose oneself in the life of another for three hours and to emerge having felt something.

American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.

Phantom Thread, Paul Thomas Anderson’s follow-up to 2014’s Inherent Vice, feels a little like a mash-up of Bergman and Hitchcock without the verve of the latter and the subtleties of the former.

Those anticipating something along the lines of Casablanca will be disappointed. Despite the superficial similarities and Warner Brothers' obvious desire to point them out, To Have and Have Not is inferior in almost every way that matters. But for those who visit this movie to vicariously experience the beginnings of Hollywood's most famous romance, it delivers in full.

As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.

Isn't just fine family entertainment, it's superior family entertainment.

Oppenheimer is an indication that Nolan refuses to be pigeonholed as a director. While there’s something to be admired about that, this isn’t a home run. Still, many of the flaws are more than compensated for by the flashes of brilliance and the strength of the central character’s presentation.