It's a joy. Altman does Dallas the way he did "Nashville" in Nashville or Hollywood in "The Player."

Vibrating with humanity, it's a potent portrait of love, ranging from the purely carnal to the impurely sublime.

Takes the raw truth and makes it jubilantly, terrifically entertaining.

The greatest rock concert movie ever made -- and maybe the best rock movie, period.

Some movies delight you. Some stimulate and provoke. Some enlighten and inform. And some simply hand you a rousing good time-- does all of that and more.

A rare example of a literary film that preserves the best of its source while creatively filling up on it.

Both the movie and Denzel Washington are knockouts.

Of all the movies I've seen in the past several years, this is one of the ones I love the most.

Kaufman's startling Quills gives us an anatomy of fear, images both silken swift and molten hot, scenes that disrupt and inflame the imagination.

82-year-old Ingmar Bergman takes one of the most painful, shameful episodes of his own life and, writing for director Liv Ullmann, transmutes it into magical, brilliant artistry.

Bravo!

Great, bittersweet family drama.

A spectacular, engrossing, big-hearted film based on one of Korea's great national epics and made by that country's top filmmaker.

A movie bull's-eye: noir with an attitude, a thriller packing punches. It gives up its evil secrets with a smile.

Such a sour, mindlessly inflated experience that seeing it may temporarily put you off historical movies.

This is a film precisely constructed, brilliantly imagined.

Moretti gives us something different but very important. He shows us how life goes on.

A film poem of sometimes humbling beauty: a movie that opens up a new world to us - in the mountains of Iranian Kurdistan - with an enchanting freshness and austerity of vision.

A beautiful and genuinely spirit-lifting film about poverty and education.

A film which should gratify any audience starved for intelligent dialogue, realistic portrayals of romance and lovely, non-cliched open-air photography.

As we watch, we can sense, once again, the eye of a painter, the dreams of a poet and, tying them together, the vision of a master.

An amazing celluloid poem by a filmmaker whom Ingmar Bergman called "the greatest." He very nearly was. He was also, perhaps, too pure a creator and reckless a citizen to survive unscathed.

Blazes up constantly with a stunning, off-kilter brilliance, an incandescent force that sometimes explodes the space between us and the screen.

An absolute delight, one of the most sheerly pleasurable movies Altman has ever made. It's wry, jokey and sexy, a tart and delectable entertainment. And, like most of Altman's best work, it's graced with a top-notch ensemble of first-class [9 April 1999, Friday, p.A]

It's perhaps only because it can't be seen in its full glory on television that "Lawrence" isn't ranked more highly on some recent all-time "best film" lists. But it belongs near the very top. It's an astonishing, unrepeatable epic.

A timeless romantic thriller that steeps us in one of those great artificial movie worlds that become more overpowering than reality itself.

A wildly original movie with astonishingly varied moods and influences.

A movie I loved on first sight and, even more important, love in remembrance. Taken all in all, there's only one last thing to say about it. Go.