The Orson Welles film is generally considered the greatest American film of the sound period, and it may be more fun than any other great movie.

The most familiar movie in the world is still fresh; it has so many little busy corners to nestle in... Casablanca is the most sociable, the most companionable film ever made. Life as an endless party.

The profuse pleasures of Boyhood spring not from amazement but from recognition — from saying, Yes, that’s true, and that feels right, or that’s how it was for me, too.

Bergman is literally ravishing in what is probably her sexiest performance. Great trash, great fun.

Vertigo is one of the great movies about movies, and about Hitchcock’s own way with them.

This exuberant satire of Hollywood in the late 20s, at the time of the transition from silents to talkies, is probably the most enjoyable of all American movie musicals.

Emotions, identities, and even bodily functions are distorted by the mechanized uniformity, but Tati’s despair is modulated by a sense of wonder.

What it really has to do with is love of the film medium, and if Welles can't resist the candy of shadows and angels and baroque decor, he turns it into stronger fare than most directors' solemn meat and potatoes. It's terrific entertainment.

For the first, and maybe the only, time this year, you are in the hands of a master.

Jenkins burrows deep into his characters’ pain-seared memories, creating ferociously restrained performances and confrontational yet tender images that seem wrenched from his very core.

The plunging and roving camera provides visceral thrills; ecstatic special effects capture the sacred (the Crucifixion) and the profane (combat in the Great War); a metaphysical framing device (starring Lillian Gish) raises human conflict to universal import; and Griffith’s trademark closeups lend a quivering lip or a trembling hand the tragic grandeur of historical cataclysm.

Perhaps the most influential of all French films, and one of the most richly entertaining.

It’s no accident that you feel a sense of loss for each killer of the Bunch: Peckinpah has made them seem heroically, mythically alive on the screen.

It's a meditation on sin and saintliness. Considered a masterpiece by some, but others may find it painstakingly tedious and offensively holy.

It is directed with such skill and velocity that it has come to represent the quintessence of screen suspense.

One of the strongest of all American movies...The picture is emotionally memorable, though - it has a powerful cumulative effect; when it's over you know you've seen something.

So smartly has del Toro thought his fable through, and so graceful is his grasp of visual rhyme, that to pick holes in it seems mean; yet Pan's Labyrinth is perhaps more dazzling than involving--I was too busy reading its runes and clues, as it were, to be swept away. It is, I suspect, a film to return to, like a country waiting to be explored: a maze of dead ends and new life.

Lemmon is demoniacally funny - he really gives in to women's clothes, and begins to think of himself as a sexy girl. Monroe gives perhaps her most characteristic performance, which means that she's both charming and embarrassing.

Though not as cleverly original as "Strangers on a Train", or as cleverly sexy as "Notorious", this is one of Hitchcock's most entertaining American thrillers.

The introductory and closing scenes are tedious; the woman's whimpering is almost enough to drive one to the nearest exit. Yet the film transcends these discomforts; it has its own perfection.

One of the greatest of all movies...Falconetti's Joan may be the finest performance ever recorded on film.

Ersatz art of a very high grade, and one of the most enjoyable movies ever made.

Elliptical, full of wit and radiance, this is the best movie ever made about what most of us think of as the Scott Fitzgerald period (though the film begins much earlier).

Despite its peculiar overtones of humor, this is one of the most frightening movies ever made.

Orson Welles' portrait of the friend, Harry Lime, is a study of corruption - evil, witty, unreachable.

Psycho, in its dark and sordid extravagance, remains utterly contemporary, in its subject as well as in its production.

Mungiu’s pacing is so sure, however, in its switching from loose to taut, and the concentration of his leading lady so unwavering, that the movie, which won the Palme d’Or at last year’s Cannes Film Festival, feels more like a thriller than a moody wallow.

Bong, in short, is a merchant of stealth. There is no more frenzy in the editing of Parasite than there are shudders in the motion of the camera, and, as with Hitchcock, such feline prowling toys with us and claws us into complicity with deeds that we might otherwise fear or scorn.