A masterpiece, pure and simple, deep and true...The best film of the year.

Deep movie emotions for me usually come not when the characters are sad, but when they are good. You will see what I mean.

One of those rare movies where you leave the theater having been surprised and entertained, and then start arguing.

This is the kind of movie Frank Capra might have directed, and James Stewart might have starred in - a movie about dreams.

There are moments in All or Nothing of such acute observation that we nod in understanding -- The closing scenes of the movie are just about perfect.

Only a few films are transcendent, and work upon our minds and imaginations like music or prayer or a vast belittling landscape...Alone among science-fiction movies, 2001 is not concerned with thrilling us, but with inspiring our awe.

Cocteau, a poet and surrealist, was not making a "children's film" but was adapting a classic French tale that he felt had a special message after the suffering of World War II: Anyone who has an unhappy childhood may grow up to be a Beast.

Ron Howard's film of this mission is directed with a single-mindedness and attention to detail that makes it riveting.

A brilliant nightmare and like all nightmares it doesn't tell us half of what we want to know. (Review of Original Release)

Against the overarching facts of his personal magnetism and the blind loyalty of his lieutenants, the movie observes the workings of the world within the bunker. All power flowed from Hitler. He was evil, mad, ill, but long after Hitler's war was lost he continued to wage it in fantasy.

It is about the actual lives of refugees, who lack the luxury of opinions because they are preoccupied with staying alive in a world that has no place for them.

It is a luxury to be enveloped in a good film.

Bonnie and Clyde is a milestone in the history of American movies, a work of truth and brilliance. It is also pitilessly cruel, filled with sympathy, nauseating, funny, heartbreaking, and astonishingly beautiful.

Superman is a pure delight, a wondrous combination of all the old-fashioned things we never really get tired of: adventure and romance, heroes and villains, earthshaking special effects, and -- you know what else? Wit.

I liked these characters precisely because they were not designed to be likable -- or, more precisely, because they were likable in spite of being exasperating, unorganized, self-destructive and impervious to good advice.

A family film of limitless imagination and surprising joy.

Oldboy is a powerful film not because of what it depicts, but because of the depths of the human heart which it strips bare.

This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids.

This is the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for, because I didn't realize that more emphasis on story and character and less emphasis on high-tech action was just what was needed. The movie works dramatically in addition to being an entertainment. There's something to it.

A film that with quiet confidence creates a fragile magic.

Alive and daring.

This is one of those rare docs, like "Hoop Dreams," where life provides a better ending than the filmmakers could have hoped for. Also like "Hoop Dreams," it's not really a sports film; it's a film that uses sport as a way to see into lives, hopes and fears.

Powerfully, painfully honest.

Astonishing things happen and symbolism can only work by being apparent. For me, the film is like music or a landscape: It clears a space in my mind, and in that space I can consider questions. (Review of Original Release)

Last Days is a definitive record of death by gradual drug exhaustion. After the chills and thrills of "Sid & Nancy" and "The Doors," here is a movie that sees how addicts usually die, not with a bang but a whimper. If the dead had it to do again, they might wish that, this time, they'd at least been conscious enough to realize what was happening.

Junebug is a great film because it is a true film. It humbles other films that claim to be about family secrets and eccentricities. It understands that families are complicated and their problems are not solved during a short visit, just in time for the film to end. Families and their problems go on and on, and they aren't solved, they're dealt with.

No actor is better than Bill Murray at doing nothing at all, and being fascinating while not doing it. Buster Keaton had the same gift for contemplating astonishing developments with absolute calm. Buster surrounded himself with slapstick, and in Broken Flowers Jim Jarmusch surrounds Murray with a parade of formidable women.

The documentary is an uncommon meeting between Treadwell's loony idealism, and Herzog's bleak worldview.