Duvall, an American Lear not going gently into that good night, reminds us that it will be a sad day indeed for movie fans when it's about time for him to Get Low.

The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.

That rare film in which every performer in it leaves the viewer in awe.

Artful, epic, operatic even, this thriller set in the world of ballet challenges the viewer with its intelligence and depth and wit.

Engrossing and moving story of a alternately warm and combative relationship.

J.J. Abrams, with Steven Spielberg producing, has made one of those jaw-dropping out-of-body summer entertainments that kids old enough to swear and see PG-13 films will remember on into adulthood.

The Guard soars along on a script, like those by the other McDonagh (Martin wrote and directed "In Bruges" and the Oscar winning short "Six Shooter," both starring Gleeson) built out of verbal flourishes and Irish curses.

This brilliant contraption of a film could become the hit of the summer. It's a cinematic Rube Goldberg machine whose parts connect in audacious, witty ways. [04 July 1985, p.E.1]

This is a story about people, not politics. And perhaps because we can see the actors in closeup on the screen, that is even truer of the movie than the play. When you leave this film, you're not thinking, "My, what an important story!" When Driving Miss Daisy is over, you think, "I sure will miss those folks." [12 Jan. 1990, p.12]

Dazzling, scary and sentimental.

It's an unblinking look into the lives of soldiers doing the most thankless job of all.

A stop any literary-minded movie-goer will want to make.

An exquisite character study in grief.

This performance reminds us that Bridges is that rare actor who has never had to make that apology. Crazy Heart lets him be every bit as grand as we’d hope him to be.

Haneke tells this tale a bit too patiently for my taste. But the metaphors are unmistakable, as is the power of the film’s message.

Strip away the French and Arabic subtitles, the French-prison setting and the Muslim-messianic title, and A Prophet, opening Friday at The Enzian, would still be the grittiest prison thriller in years.

A chilling detective tale, a horrific sexual abuse drama and an overlong, emotional, tie-up-every-loose-end melodrama that is sure to be half an hour shorter when Hollywood remakes it without the Swedish dialogue and probably without the cool Swedish edge.

There are people, powerful people, who don't want old cases dug up. It's a tribute to the story's construction that the mystery only deepens, the more Benjamin digs.

I Am Love is a cinematic orgy, a sensual Italian feast of food, sex, guilt and grief. An intimate, quiet and even slow movie, its subtle shadings veil turbulent emotions.

That humor is a the delicious underpinning to whatever melodrama happens as these five connect and clash. And that humor is what reassures us, even at its darkest moments, that no matter how things work out for the adults, these kids are going to be all right.

Yes, it's pretty much a must to have seen the first film. Where Dragon Tattoo felt like fall, Played with Fire was shot in the Swedish summer, which suits the faster pace, ramped up violence and fresh collection of supporting players -- cops, a kickboxer, and a couple of borderline Bond villains.

Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.

It's the best heist picture since "Heat."

Reeves has Americanized a very good foreign film without defanging it.

The magic in the film is in the actors. Only somebody who has stripped himself emotionally bare for the camera could achieve the level of performance that Goldwyn gets from every single SAG member on this set.

The first third is brisk and witty, the middle third gloomy and the finale of Part 1 not so much a cliffhanger as a grim, inspiring tease, a masterly build-up to put "I can't wait for part 2" on every Muggles' lips.

It is Carrey, turning his patented rubber-faced, rubber-voiced shtick loose on a role with heart, substance and entertainment value, who makes this romantic farce a movie too good to sit on any studio's shelf.

That message, this script and these actors make Rabbit Hole one of the best films of 2010.