It’s a bit crazy, wild yet precise, a mix of comedy and drama that feints in the direction of anachronism, even as it provides a grand showcase for Rachel Weisz, Emma Stone and Olivia Colman, who are extraordinary.

Egoyan's voice is so clear and loving, his vision so forgiving and his film so intelligent that you come away refreshed.

Bests most other teen comedies right off the bat. If you got a kick out of "Crumb," this film will crack you up.

Nostalgia for the Light is a strange and stunning work of art: a poem disguised as a movie about astronomers in the Atacama desert of Chile.

Until this film, these Shin Bet directors had never consented to an interview. Now that they've spoken - and have said the unexpected - we can only wonder if their words will have an influence.

The suffering artist story is as old as time. Yet “The Brutalist” tells it with such specificity and visceral conviction, it feels entirely fresh. Modern, even.

Magnificent but somewhat frustrating movie.

The film has the measured and expansive quality of real life, which could have been dull. It’s anything but that. Instead, by making Julie so real and vivid, Reinsve and Trier accomplish something rare. They make everything that happens to her feel as interesting as if it were happening to you.

An overwhelming experience.

Watching Licorice Pizza is simultaneously like watching life with all the boring parts cut out and like watching movies with all the phony parts cut out.

This is a rare film and a rare use of cinema. Other documentaries are like filmed news stories. This one is like a poem. If you see this, you will never again think of hearing in quite the same way, and you will hear sounds that are so haunting that they will be with you for the rest of your life.

It's a movie filled with surprises, including one outright kick in the head that qualifies as one of the biggest movie moments of 1992. [18 Dec 1992]

With Reichardt, you really do feel like you’re actually there. The only problem is that, a lot of the time, you’re really not happy to be there.

Yet all this wit and effort and occasional beauty is in the service of a movie that is little more than a two-hour chase scene, one that seems founded on the assumption that if you show one set of people chasing another, that’s enough to get an audience excited: Oh, no, let’s hope they don’t get caught!

Le Samourai is beautifully assured and has a strong consistency of visual style and tone, but I can't say I had a great time watching it.

This is one helluva drama, with one helluva star turn by Jennifer Lawrence as Ree.

An absolute delight, combining the cheap thrills of a biopic with the gentler, but more lasting, pleasures of a brilliant character study.

As the title suggests, she might as well be on trial for her life. That’s the absurdist but eerily true premise behind this provocative Israeli feature film, which takes us to the world of the Jewish religious courts, a place where only rabbis can decree a divorce — and where husbands wield stupefying power.

Ultimately, Collin’s film is one of forgiveness. That’s not the usual way great tragedies end.

With any other actor, All of Us Strangers was bound to be an emotional film, but Scott has a way of going down to the nerve endings. He makes the movie into something raw and deep.

A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.

A great experience, precisely because it's so intimate and unguarded.

Make no mistake, Blue Is the Warmest Color constitutes a breakthrough, in addition to being the best film of 2013.

It's a humane and witty treatment of an average life that, incidentally, speaks to the worth and inherent drama of average lives.

Paul Thomas Anderson is getting there. He is a great director of scenes, not of movies, but in Phantom Thread he has devised a film that hangs in from start to finish, his first since “Boogie Nights.”

A British costume film that's funny but not at all fusty.

It not only evocatively captures the Russian spirit and the yearnings of a generation, but it also masterfully chronicles the historic collapse of the Soviet Union and its complex aftermath.

The first film seemed a fully formed, lived-in world. The sequel leaves Julie on her own; an interior monologue that Hogg, and Swinton Byrne, can’t quite externalize.