Simply put, Sofia Copolla's Lost in Translation is an amazing motion picture.

From a shock-and-suspense point-of-view, Halloween is the rival of Alfred Hitchcock's "Psycho." With only a few arguable exceptions (such as "The Exorcist"), there isn't another post-1970 release that comes close to it in terms of scaring the living hell out of a viewer... A modern classic of the most horrific kind.

A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.

Labeling this as a "movie" is almost an injustice. This is an experience of epic scope and grandeur, amazing emotional power, and relentless momentum.

Like all great craftsmen, Lucas has managed to fashion this material in a manner that not only honors the original sources, but makes it uniquely his own. Hacks rip off other movies; artists synthesize and pay homage to their inspirations.

As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.

Takes a cold, unflinching look at the violence both inside and outside of the ring.

Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]

Has all the right ingredients: a smart script, a likable hero, a dash of romance, more than a touch of comedy, and a lot of fast-paced action.

The Western may be one of the few truly American art forms, and High Noon shows exactly how much potential it can embrace.

It has been said that a Monty Python movie is only successful if it offends everyone in the audience at least once. By that measuring stick as well as nearly any other, The Life of Brian is an unqualified triumph. It makes us confront our foibles and laugh at them.

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]

The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.

Disturbing. It is impossible to sit through Maria Full of Grace and not be affected by the circumstances of the characters. For that, the credit must go to Marston and his actors.

Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.

Provocative, entertaining, and impeccably crafted.

Watching this film demands two qualities that are sadly lacking in all but the most mature and sophisticated audiences: patience and a willingness to ponder the meaning of what's transpiring on screen. 2001 is awe inspiring, but it is most definitely not a "thrill ride." It is art, it is a statement, and it is indisputably a cinematic classic.

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

One of Scorsese's most influential and disturbing films on the big screen. (Review twenty years after release).

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

There is something special about the production, with its brash, vivid style, indelible performances by movie icons, and bold mixture of violence and comedy, romance and tragedy.

Patton remains to this day one of Hollywood's most compelling biographical war pictures.

A film of uncommon depth, intelligence, and sensitivity.

Jim Sheridan skillfully interweaves a myriad of subplots and themes into a fast-paced, cohesive whole.

United 93 is powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember, but will never forget.

The original film was gritty and entertaining ("Infernal Affairs"); the new version is a masterpiece - the best effort Scorsese has brought to the screen since "Goodfellas."

There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution.