An endlessly fascinating movie.

A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.

In an era when hundreds of lives are casually destroyed in action movies, here is an entire film in which one life is honored, and one death is avenged.

One reason for the fascination of Woody Allen's Match Point is that each and every character is rotten.

As a thriller, Munich is efficient, absorbing, effective. As an ethical argument, it is haunting.

A perplexing and disturbing film of great effect.

Pocahontas was given the gift of sensing the whole picture, and that is what Malick founds his film on, not tawdry stories of love and adventure. He is a visionary, and this story requires one.

Everything about the film -- its casting, its filming, its release -- is daring and innovative.

Because their work is so varied, the director Winterbottom and Boyce, his frequent writer, are only now coming into focus as perhaps the most creative team in British film.

What a simple and yet profound story this is.

Fantastically powerful despite its flaws. (Review of Original Release)

Here is a film where God does not intervene and the directors do not mistake themselves for God. It makes the solutions at the ends of other pictures seem like child's play.

Above all one of the most beautiful films ever made. Malick's purpose is not to tell a story of melodrama, but one of loss. His tone is elegiac. He evokes the loneliness and beauty of the limitless Texas prairie. [7 Dec. 1997]

Like "United 93" and the work of the Dardenne brothers, it lives entirely in the moment, seeing what happens as it happens, drawing no conclusions, making no speeches, creating no artificial dramatic conflicts, just showing people living one moment after another, as they must.

Keke Palmer, a young Chicago actress whose first role was as Queen Latifah's niece in "Barbershop 2," becomes an important young star with this movie. It puts her in Dakota Fanning and Thora Cross territory, and there's something about her poise and self-possession that hints she will grow up to be a considerable actress.

Three varieties of love: unfulfilled, mercenary, meaningless. All photographed with such visual beauty that watching the movie is like holding your breath so the butterfly won’t stir.

This restored 35mm print, now in art theaters around the country, may be 37 years old, but it is the best foreign film of the year.

A movie you cannot turn away from; it is so pitiless and uncompromising, so filled with pathos and disregarded innocence, that it is a record of those things we pray to be delivered from.

What a lovely film this is, so gentle and whimsical, so simple and profound.

Am I acting as an advocate in this review? Yes, I am. I believe that to be "impartial" and "balanced" on global warming means one must take a position like Gore's. There is no other view that can be defended.

Unlike "Saving Private Ryan" and other dramatizations based on D-Day, Overlord is an intimate film, one that focuses closely on Tom Beddoes (Brian Stirner), who enters the British army, goes through basic training and is one of the first ashore on D-Day. (Reviewed in 2004)

Bahrani, as director, not only stays out of the way of the simplicity of his story, but relies on it; less is more, and with restraint he finds a grimy eloquence.

I am not British, was born 14 years before the subjects, and yet by now identify intensely with them, because some kinds of human experience -- teenage, work, marriage, illness are universal. You could make this series in any society.

Kristen Dunst is pitch-perfect in the title role.

Eastwood’s two-film project is one of the most visionary of all efforts to depict the reality and meaning of battle.

Very nice. I like Borat very much. I think it is, as everybody has been saying, the funniest movie in years.

It is refreshing to see Cruz acting in the culture and language that is her own. As it did with Sophia Loren in the 1950s, Hollywood has tried to force Cruz into a series of show-biz categories, when she is obviously most at home playing a woman like the ones she knew, grew up with, could have become.

Olivier Dahan's La Vie en Rose, one of the best biopics I've seen, tells Piaf's life story through the extraordinary performance of Marion Cotillard, who looks like the singer.