A heartbreaking look at broken trust.

Antonioni's moviemaking panache and distinctive narrative rhythm rarely have seemed so enticing and satisfying.

A miracle of a movie that is both fairy tale and slice of life.

Beautiful, elevating and achingly sad.

It's an emotionally gripping, daringly genre-twisting, consummately crafted piece of filmmaking.

It's a dissection of how the media found and fed and nurtured the story in their insatiable need for content to fill their news hours and talk shows, how it just as quickly turned on them and transformed the story from celebration to vilification, and how the public turned right along with them.

Giordana's redemptive vision provides a sense of discovery and a well of hope in the most devastating of troubles, and beautiful surprises in love, friendship and family.

A vivid, thoughtful, unapologetically raw coming-of-age tale full of sex, drugs and rock 'n' roll.

Fascinating memoir of coming of age in Iran.

The movie is so well-cast, sympathetically acted and delicately directed -- and so genuinely touching and funny -- that it leaps right out of the narrow confines of the family bonding formula.

People who have seen it seem to be crazy about it.

In what was indisputably his finest moment as a filmmaker, Forman summoned the absolute best work of his craftsmen -- costumes, makeup, camerawork, production design -- and merged them with his own storytelling sense and his special way with actors to create what has to stand as cinema's most successful musical epic.

It's the most intense, unpredictable and thrilling cinematic experience I've had the pleasure to squirm through in ages.

True to the characters and their conflicts, the resolution is neither neat nor expected. True to Demme, it's honest and generous and very human.

A hauntingly poetic triumph.

Confronts the line between the celebration and the exploitation of innocence with an uneasy tension that is discomforting at best.

A sly, smart and very funny caricature of corporate politics and image culture.

The film is a hugely compelling tribute to the French Resistance movement in World War II, staged with a genuine epic flair but in the icy, downbeat, film-noir style of the director's celebrated policiers.

It's pretty weird stuff, and filmmakers Keith Fulton and Luis Pepe embrace it with a layer of cinematic gauze that builds a pounding energy to this hypnotic twisting of rock legend.

Makhmalbaf's astounding and haunting imagery tells a story of devastation, desperation and poverty.

Free of the ghetto clichés that fill the movies made by people who have never lived in one, Killer of Sheep is a strongly individual portrait of black, working-class America.

Tommy Lee Jones steps behind the camera to direct himself in the most impressive directorial debut the American cinema has seen in some time, a contemporary western both rough and poetic, laconic and passionate.

So magnificent in so many ways that, for the first time, it seems to raise the docudrama to high art.

The granddaddy of all caper/heist movies. The work that defined the genre for the subsequent four decades of filmmakers, none of whom was able to surpass it for style or suspense.

While the significance of the imagery, including the slow disintegration of an immense piece of sculpted petroleum, is elusive, the strangeness of Barney's visual sense never fails to stimulate the senses.

A tasteful, richly textured, exquisitely nostalgic drama that carries with it an enormous emotional punch. [09 Oct 1992]

Above all, the film is a classic of "poetic realism," that distinct brand of pessimistic '30s French urban drama that gave lyrical, sometimes even surrealistic, interpretations to working-class romances and underworld characters, settings and dramas.

It's not only the most gentle and effortlessly funny movie so far this year, it's a film with a style and sensibility that wonderfully harkens back to Hollywood's golden age of sophisticated comedy, and in particular to the masterpieces of Crowe's filmmaking idol, Billy Wilder.