A marvelously nasty revenge comedy.

Pure and universal.

The Best of Youth doesn't have a boring millisecond. It isn't an art film, with longueurs; it's a mini-series with the sweep of a classic novel, with tons of plot.

As the ghouls evolve toward humanity and the humans toward ghouldom, we can appreciate Romero for using horror to show us How We Live Now, and How We're Living Dead now, too.

Remarkable.

It's the human struggle that makes this a sci-fi masterpiece.

Audiard's take is fevered, immediate, and hopeful--a story of a man recovering his soul. The most intense and compelling sections of The Beat are almost word for word from "Fingers" (albeit translated into French), but this beat changes everything.

This is a dazzling movie, yet some people (not kids, but maybe their parents) will be put off by its Grand Guignol ghoulishness.

It's hugely entertaining, it's spectacularly acted, and it pricks you in all kinds of places. Maybe the best thing is to see it and let it bug you, too.

The ending is madly unsatisfying--yet dead perfect. This is a remarkable film.

Is Fiennes miscast? Perhaps. He's a high-strung, somewhat clammy actor--not the first to spring to mind for this warmly self-effacing plodder. But he's remarkably fine.

Face/Off is such a blast that at times I forgot I was watching a John Woo movie.

The movie is so Burtonesque that it verges on self-parody--but it's fun and stunningly beautiful anyway.

Hoffman goes beyond the surface mannerisms and diction. He disappears into Capote.

This Pride & Prejudice (ampersand and all) a joy to behold.

An entertaining, emotional, and surprisingly intimate movie--an epic saga of fauns and talking (Cockney) beavers and evil sorceresses and triumphal resurrections and massive, sweeping battles that nonetheless feels … small.

A spectacular three-hankie tragic love story--sometimes dumb and often clunky and always pretty cornball, but just about irresistible.

The movie has an intriguing wild card in Bess Armstrong as an ex-prostitute turned Zen masseuse. I'm not sure if she's meant to be brilliantly evolved or an idiot -- or if the actress is really good or really, really terrible. But her chemistry with Forster is terrific.

The characters are much less finely tuned and the climax is a botch, but the French-financed film is often a riot, and the sensibility is all there.

A giddy ballet in which the women whirl around a still, clueless man.

Intimacy doesn’t answer the question, which makes it all the more tantalizing: This is an emotional puzzle movie.

Roberts has her most galvanic role, and she's sensationally appealing.

Sets you nearer than theater permits -- and further back than most movies dare. A magic vantage.

Belongs to that most promiscuous of genres -- the go-for-it sports melodrama -- but transcends it and then some.

A brainy weave of satire and fantasy.

Gives off the same vapor of impending tragedy—of a fate neither just nor unjust but ineffably, wrenchingly right.

The movie made me laugh a lot anyway. It has a big, inventive cast of loons and a great premise.

Tumbleweeds is gorgeously nuanced.