It's a scintillating comedy-drama and one of Altman's most richly moving and entertaining pictures.

Many of us may have thought that with the world offering so much vivid horribleness every day, movies had lost the power to give us a good cathartic scare. It's a shock -- and a pleasure -- to discover we were wrong.

A shockingly powerful screed against racism that also manages to be so well performed and directed that it is entertaining as well. [30 October 1998, Friday, p.A]

Watching Le Cercle Rouge, we're caught up in a world that, however improbable some of its twists and turns seem, strikes us as a perfect, imaginative creation.

Heroin may be a downer, but Trainspotting definitely takes you up…a series of roaring, provocative, outrageous highs. [26 July 1996, Friday, p.C]

By re-imagining a pivotal, terrible 24 hours, Greengrass has made a must-see film that is timely - and timeless.

Like "Memento," Mulholland Drive is an amnesiac noir in the tradition that goes back to "Spellbound" and "Somewhere in the Night."

This is a terrific movie: jolting, savage, horrifically funny, nightmarishly exciting but also brainy and compassionate.

All of the performances are first-rate; Pesci stands out, though, with his seemingly unscripted manner. GoodFellas is easily one of the year's best films. [21 September 1990, Friday, p.C]

A joy to behold, a complex film that never loses either its sense of purpose or sense of humor. [7 February 1986, Friday, p.33]

Delicately subversive, hypnotically sardonic, full of terror, banality and wafer-thin lyricism.

Brando made Don Vito something we rarely see in movies: a tragicomic villain-hero, a vulnerable hood. The don is so close to a comic character -- the movie itself is so close to comedy -- that Brando's capacity to move us in the role is doubly impressive. At the end, it is the older Godfather's tenderness and sagacity we recall. [21 Mar 1997, Friday, p.A]

Told with such sadness and exaltation, such mastery of image and sound, that watching it makes you feel renewed and hopeful.

All but sweeps you away with its dazzling technique and shattering emotion. [27 November 1996, Tempo, p.1]

Attack of the Clones celebrates a certain youthful spirit in both moviemaking and movie watching; because it's as much phenomenon as movie, audiences will either ride with or reject it. I was happy to take the ride.

The more you learn, the more questions you have about life in that Great Neck house. Leo Tolstoy wrote that "every unhappy family is unhappy in its own fashion," but not even he could have invented the Friedmans.

A deeply moving blend of cold terror and rapturous hilarity. Lovingly crafted by Italy's top comedian and most popular filmmaker, it's that rare comedy that takes on a daring and ambitious subject and proves worthy of it.

Pure magic, a three-act movie fantasy that transports us -- as the best films do -- to a world of its own, a place of ambiguous joy and delirious terror.

May show both director and star working at their professional peaks, but I don't think it's as good as that underappreciated masterwork "A.I." It's not as resonant and daring, not as full of magic and marvel. Spielberg stretches himself technically here but not emotionally.

What "M.A.S.H." did to service comedies, what "McCabe and Mrs. Miller" did to westerns, what "The Long Goodbye" did to detective pictures, The Player does the to Hollywood success story. [24 April 1992]

It's a thriller that really thrills, a drama that really engages, a portrait of a world and system out of joint that is painfully convincing and totally engrossing from the first simmering minute to the last explosive second.

Great filmmakers push their ideas and characters to the limit, unafraid of consequences - which is what Pedro Almodovar has done in Talk To Her, his latest film and, I think, his best.

Like most Godard, it can be watched repeatedly, always yielding new secrets and beauties. Most profound of all, perhaps, are those incredible black-and-white images of Paris.

An instant classic and a dramatic beauty, a film that gets us to the core of Greene's chilly, dark and romantic view of the post-war world.

A film that lets life flood into our souls.

It's tantalizing, delectable and randy, a movie of melting eroticism and toothsome humor.

The kind of brilliantly weirdo picture that, by all rights, shouldn't have gotten made at all but this time, miraculously, was.

Pulp Fiction isn't just funny. It's outrageously funny. [14 Oct 1994]