The kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy.

Like "Citizen Kane," Pulp Fiction is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next.

Breathtaking and terrifying, urgently involved with its characters, it announces a new director of great gifts and passions: Fernando Meirelles.

One of the funniest, most intelligent, most original films.

It is so rare to find a film where you become quickly, simply absorbed in the story.

Crowe brings the character to life by sidestepping sensationalism and building with small behavioral details.

The movie subtly darkens its tone until, when the horrifying ending arrives, we can see how we got there. There is a final shot that would get laughs in another kind of film, but May earns the right to it, and it works, and we understand it.

It is as assured and flawless a telling of sadness and joy as I have ever seen.

In its warmth and in its enchantment, as well as in its laughs, this is the best comedy in a long time.

One of the most visually inventive films I have ever seen.

Spacey, an actor who embodies intelligence in his eyes and voice, is the right choice for Lester Burnham.

Not many movies know that truth. Moonlight Mile is based on it.

This is not your average family cartoon. Shrek is jolly and wicked, filled with sly in-jokes and yet somehow possessing a heart.

This film embodies ideas. After the immediate experience begins to fade, the implications remain and grow.

Leconte brings his film to transcendent closure without relying on stale plot devices or the clanking of the plot. He resorts to a kind of poetry. After the film is over, you want to sigh with joy, that in this rude world such civilization is still possible.

What is most amazing about this film is how completely Spielberg serves his story. The movie is brilliantly acted, written, directed and seen. Individual scenes are masterpieces of art direction, cinematography, special effects, crowd control.

A visionary roller-coaster ride of a movie.

Either Being John Malkovich gets nominated for best picture, or the members of the Academy need portals into their brains.

Transcends its origins and becomes one of a kind. It's glorious, unashamed escapism and surprisingly touching at the same time.

Seen after 30 years, Dr. Strangelove seems remarkably fresh and undated - a clear-eyed, irreverant, dangerous satire. And its willingness to follow the situation to its logical conclusion - nuclear annihilation - has a purity that today's lily-livered happy-ending technicians would probably find a way around.

It's enchanting and delightful in its own way, and has a good heart. It is the best animated film of recent years, the latest work by Hayao Miyazaki, the Japanese master who is a god to the Disney animators.

What a bewilderingly brilliant and entertaining movie this is.

Not just a thriller, not just a social commentary, not just a comedy or a romance, but all of those in a clearly seen, brilliantly made film.

It's one of the best films of the year.

I wanted to hug this movie. It takes such a risky journey and never steps wrong. It creates specific, original, believable, lovable characters, and meanders with them through their inconsolable days, never losing its sense of humor.

The kind of parable that encourages us to re-evaluate the good old days and take a fresh look at the new world we so easily dismiss as decadent.

[Nicholson's] performance is key in keeping Chinatown from becoming just a genre crime picture--that, and a Robert Towne screenplay that evokes an older Los Angeles, a small city in a large desert.

Julianne Moore, Dennis Quaid and Dennis Haysbert are called on to play characters whose instincts are wholly different from their own. By succeeding, they make their characters real, instead of stereotypes.