A collage of pain that breaks over you like a wave. Every second you can feel the cost to Caouette of what he's showing: The sounds and the images are like a pipeline from his unconscious to the screen.

One of the most relentless scare pictures ever made.

Like Clueless or Breakfast at Tiffany’s, it’s a great American comedy, and like Boyhood and Dazed and Confused, another easygoing masterpiece from our reigning auteur of hidden depths.

If you're interested in the history of the human race-if you're a member of the human race-you owe it to yourself to see this movie.

It plays the whole absurd shell game for laughs, even as it acknowledges that the last and bitterest laugh is on the rest of us.

Qualifies as one of my favorite movies of all time. This 1932 masterpiece, now digitally restored with retranslated subtitles and a newly recorded score, is a silent film that doesn't feel silent at all.

I saw Tully twice. After my first screening, I wasn’t sure what to think of the ending. The second time, I was convinced of the film’s brilliance.

Gus Van Sant and screenwriter Dustin Lance Black pull off something very close to magic. They make a film that's both historically precise and as graceful, unpredictable, and moving as a good fiction film--that is to say, a work of art.

For a story that's all about the harnessing of fateful chthonic forces, Paul Thomas Anderson has dug deeper than ever before, and struck black gold.

Anderson is young enough to be post-hip and post-ironic, if such terms are possible.

There’s an urgency to Ida’s simple, elemental story that makes it seem timely, or maybe just timeless.

Fern’s need for constant movement, McDormand implies in a performance of extraordinary depth and ambiguity, is both a search for something and an escape from something else, and not even she seems completely sure what either something is.

I loved it. Or, to put it another way, I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it.

Just like the short time the lovers have together, Portrait of a Lady on Fire is minimal but perfect, without an image, a glance, or a brushstroke to spare.

Right from the opening shot of Breaking the Waves...von Trier seems to be looking for the first time at life, not just the movies.

Though it’s early in the year, it doesn’t feel like a stretch to name it one of 2021’s best films.

The fact that Duvall gives such a glorious performance in The Apostle is likely to distract people from the fact that he has also written and directed a glorious movie--the most vivid and radiantly made of 1997.

Every scene has been staged and shot with intelligence, intent, inventiveness, and a sense of play. To watch it is to get excited about the billions of different ways you can combine sound and moving images to tell a story.

Because of its deliberate slow-building structure, BPM sneaks up on you, inundating with detail and method until it all piles up and topples you over. Yet even in despair, the movie is emotionally transformative.

You don't want to watch this movie, you want to climb inside it and play.

The movie we've been waiting for all year: a comedy that doesn't take cheap shots, a drama that doesn't manipulate, a movie of ideas that doesn't preach. It's a rich, layered, juicy film, with quiet revelations punctuated by big laughs.

The Babadook creates tension not with jump scares or chase sequences but with judicious editing and slow-burn suspense—that is, until it descends into a final half-hour of harrowing emotional and physical intensity, an extended climax that made me gasp aloud, hide my eyes, and weep at least twice.

As the couple’s widening rift exposes the gender and class assumptions that underlie their marriage... Force Majeure morphs into a biting critique of modern masculinity, of traditional parenting roles, and possibly of the institution of marriage itself.

A clever, vividly imagined, consistently funny, eye-poppingly pretty and oddly profound movie … about Legos.

This is the most intoxicatingly beautiful martial arts picture I've ever seen.

It's hard to think of another American film with this range of moods: satirical, sometimes hilarious, yet suffused with a sense of loss and riddled with the kind of violence that makes you recoil and lean forward simultaneously.

Watching the opening of A Hard Day's Night is like getting a direct injection of happiness.

Mr. Turner does resemble "Topsy-Turvy" in its meticulous yet vibrant recreation of the past and its ever-expanding thematic amplitude. This is a movie not only about one particular artist, but about art as both a field of human endeavor and an object of shifting cultural and economic value.