It's impossible not to be utterly blown away by Pixar's animation.

It is as deeply satisfying as only the yowling, primal trashing of several rental cars and hotel rooms while in the grips of a hopelessly depraved ether jag and several sheets of blotter acid can be... A cinematic masterpiece.

One of the greatest fantasy films of all time.

Although there isn't a single kiss in this love story, it's intensely erotic -- and more to the point, it's not afraid of eroticsm's juicier and more forthright twin, carnality.

One of the most ravishing spectacles the movies have given us.

What Ray does right, combined with its generosity of spirit, makes it the most satisfying American movie of the year.

The Incredibles has that rare quality of feeling modern and classic at the same time.

Beloved for many different reasons, including its scrupulous scientific accuracy, its vast reach from "The Dawn of Man" to the next stage of human evolution, its unrivaled integration of musical and visual composition, its daring paucity of dialogue and washes of silence, its astonishingly creative psychedelic sequence and its still-gorgeous pre-digital special effects.

If this Hamlet weren't so perfectly conceived visually, it would probably stand solidly on the basis of its acting alone.

Hirschbiegel and Eichinger, along with their large, brave and talented cast, have done something extraordinary for their generation of Germans, and for the world. They have willfully entered their grandparents' dirtiest, clammiest chamber of secrets.

With all his artifice, his prodigious narrative risks and seemingly undisciplined mélange of styles and tones, Desplechin has made a film that feels more like real life than anything I've seen in years, from any source. It's a masterpiece.

Cheung is one of the finest actresses working today, an expressive, lustrous beauty capable of plumbing a boundless range of emotional hues. This is the greatest performance she's given to date.

A lush, modern valentine to old-fashioned sentiment, and to old-fashioned moviemaking, too.

Blissful, blazingly intelligent adaptation.

One of the greatest of all Holocaust films.

One of the greatest films of recent years.

Not just one of the great films of the '60s but one of the great films, period -- and the chance to discover it at the beginning of the 21st century, in an era when we think we've seen it all, is an unquantifiable privilege.

It's terrific! Shot by the brilliant cinematographer Anthony Dod Mantle ("Dogville," "28 Days Later," etc.) and anchored by amazing performances from identical (but not conjoined) twins Harry and Luke Treadaway, Brothers of the Head is not a freak show, or a knockoff "Rocky Horror" camp celebration. It's a work of powerful atmosphere and significant mystery. Plus, it rocks.

Old Joy is only 76 minutes long, but it has the contemplative power of Buddhist meditation. Reichardt gives us long, stoned takes of rural roads; shots of birds, insects and slugs in the spectacular Oregon rain forest; interludes with Mark's dog, Lucy. Some viewers may well be bored, or monumentally irritated, by this. I found it masterly, riveting.

The latest riveting, heartbreaking chapter to one of the supreme creations of documentary filmmaking, the "7 Up" series.

Requiem, the new film from German director Hans-Christian Schmid, is absolutely astonishing. See it if you possibly can.

This is a supreme example of how a filmmaker can make a work of fiction based on fact that, without didacticism or heavy-handed moralizing, leaves us feeling more connected not just with history but with what makes us human in the first place.

I didn't need to understand every word to see what a beautiful film this was - each camera shot a carefully composed masterpiece that immerses the viewer in a realm of luxuriant imagination.

Everything about Pee-wee's Big Adventure, from its toy-box colors to its superb, hyperanimated Danny Elfman score to the butch-waxed hairdo and wooden-puppet walk of its star and mastermind, Pee-wee Herman, is pure pleasure.

Manufactured Landscapes may tell you more about how the 21st century world actually works than you really want to know, but it's a heartbreaking, beautiful, awful and awesome film.

Bird is one of the great modern animators -- as well as an astonishingly gifted filmmaker, period -- precisely because he doesn't set out to wow us.

One of the year's best movies...It's one of the simplest and best re-creations of downscale urban England during the gritty post-punk years ever put on screen, and it's both upsetting and very funny.

A great action movie, exhilarating and neatly crafted, the kind of picture that will still look good 20 or 30 years from now.