Marvellous fun.

It’s a quiet, candid, sharply conceived and imaginatively realized masterwork, her first film of such bold and decisive originality; it’s Reichardt’s first great movie.

A first-rate piece of work by a director who's daring and agile... It's heaven – alive in a way that movies rarely are. [9 Jan 1989]

The backbone of Collin’s film is the sole audio interview with Helen Morgan, made in 1996, shortly before her death. The story that she tells combines with the story that Collin builds around it to provide a revelatory and moving portrait of a great musician.

About Dry Grasses may be unhurried, with languid steppe-by-steppe pacing and long, luxuriant, exquisitely sculpted conversations, but it is also nimble, alert, and alive in ways that seem to have taken Ceylan himself by surprise.

What makes Amour so strong and clear is that it allows Haneke to anatomize his own severity.

A perfect family movie, a perfect date movie, and one of the most eye-ravishing documentaries ever made.

Did You Wonder Who Fired the Gun?...is an overwhelming experience. It fills the current American landscape with the hatred, oppression, and violence that also scars its history.

An enthralling and powerfully eccentric American epic.

It’s more than the portrait of an artist (or even of two); it’s a revelation and exaltation of the artistic essence, of the very nature of an artist’s life as an unending act of creation in itself.

One of the most sheerly enjoyable films of recent years, this sophisticated horror comedy, written and directed by Brian De Palma, is permeated with the distilled essence of impure thoughts.

One of the most elegantly beautiful ghost movies ever made.

Margin Call is one of the strongest American films of the year and easily the best Wall Street movie ever made.

A comedy, and a scintillating, uproarious one, filled with fast and light touches of exquisite incongruity in scenes that have the expansiveness of relaxed precision, performed and timed with the spontaneous authority of jazz.

The movie has the happy, enthusiastic spirit of a fanfare, and it's astonishingly entertaining considering how divided it is in spirit...Whatever one's reservations, the film is great fun to watch.

Huston's power as Lilly is astounding... She bites right through the film-noir pulp; the [climactic] scene is paralyzing, and it won't go away.

If there’s a reason Janet Planet never succumbs to the rosy, banalizing glow of nineties nostalgia, it’s Baker’s ability to juxtapose multiple perspectives in the same static frame—a gift that feels closely rooted in her theatre work.

One Battle After Another, as great an American movie as I’ve seen this year, doesn’t simply meet the moment; with extraordinary tenderness, fury, and imagination, it forges a moment all its own, and insists that better ones could still lie ahead.

An Altman-influenced movie made without the master's acrid bitterness. The Last Kiss may come out of Italian opera and comedy, but in spirit it's Shakespearean -- objective, impassive, and at peace with a world in which men and women manage to be both ordinary and extraordinary. [5 August 2002, p.80]

The movie’s outward gaze is radical, no question, yet it refuses to scorn the comforts — of ingrained habits, and of home — that are honored by the conservative imagination. Such equipoise is almost as rare in cinema as it is, God knows, in politics, and right now, though we can’t foretell whether time will be cruel or kind to Gerwig’s Little Women, it may just be the best film yet made by an American woman.

Few American movies since the silent era have had anything approaching this picture's narrative boldness, visual audacity, and emotional directness. [20 Dec 1993, p.129]

Loktev’s accomplishment in this extraordinarily human cinematic document is to simply keep filming—to cling fast to her camera, and to keep it focussed on the remarkable sight of young people showing exemplary courage. In doing so, she keeps faith with the words of another speaker, pledging solidarity with dissidents everywhere: “Evil is not eternal, and truth will surely win.”

In brief, Marshall Curry, the young director of Street Fight, has hit the documentary jackpot: the movie will become the inescapable referent for media coverage of the new campaign. And rightly so.

It’s not the whole story, of course; it’s resolutely on the side of decorum and falls far short of the inner and outer postwar apocalypses envisioned in film noir. But the intensity of its liberal romanticism is utterly gripping.

This is the fanciest, most carefully assembled enigma yet put on screen...Using du Maurier as a base, Roeg comes closer to getting Borges on the screen than those who have tried it directly, but there's a distasteful clamminess about the picture. Roeg's style is in love with disintegration.

Hong’s deft artistry is an attempt to get past the habits of issue-oriented, advocacy-besotted political cinema to work out just what a political cinema would be. And his answer is: first of all, it’s cinema. In this regard, he connects with Mankiewicz, Resnais, and other great filmmakers for whom politics is an important, interwoven part of life—and of art.

Glorious...touching in sophisticated ways that you don't expect from an American director.

Ingeniously, Coogler has transformed “Rocky”—the modern cinematic myth that, perhaps more than any other, endures as a modern capitalist Horatio Alger story of personal determination and sheer will—into a vision of community and opportunity, connections and social capital, family and money.