In scene after scene -- the long wedding sequence, John Marley's bloody discovery in his bed, Pacino nervously smoothing down his hair before a restaurant massacre, the godfather's collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece. [21 Mar 1997, Daily Datebook, p.C3]

One of the greatest of all epics.

A masterpiece.

Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry.

Everything Melville shows us, he shows us for a reason, and these reasons are never obscure but are rather pertinent to the action and to the moral movement of the world and the characters.

It turns out that Pepe Le Moko is even better than "Algiers."

Visually stunning, it meshes haunting images with a complex multilevel story about the enchantment of youth.

Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.

First, this movie should be enjoyed. Later, marveled at. And then, once the excitement has faded, 4 Months, 3 Weeks and 2 Days really should be studied, because director Cristian Mungiu creates scenes unlike any ever filmed.

Superb.

Ratatouille is a classic.

An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.

But make no mistake, whether the movie is fair or horribly unfair - I know nothing of the actual facts and can't make that determination - its portrait of Zuckerberg is a hatchet job of epic and perhaps lasting proportions.

One of the most innovative and best made films of the past year. Every now and then, even Dick Cheney gets to like a great movie.

Moaadi is the standout here, subtly evoking filial worry and fatherly pride in one scene, popping off with rage in another: He's believably decent, believably flawed. A Separation touches on religious strictures and the role of women in Iran, but it does so with a light hand and not a twitch of condemnation.

A lovely, evocative tour de force. So why does it seem we should be enjoying it more?

A fine picture because it can still, without fail, make an entire audience of children shut up and fall in love with a little green alien with big eyes and a turtlelike body.

It is an exhilaration from beginning to end. It's the movie equivalent of that rare sort of novel where you find yourself checking to see how many pages are left and hoping there are more, not fewer.

A worthy, fascinating film..

This one enters the pantheon of great American war films.

In the moment, it's intermittently transcendent, heartrending and beautiful ... and busy, repetitious and boring.

It's back in a handsome new black-and-white print, and it's still powerful stuff -- you can see why Pauline Kael wrote that it was "probably the only film that has ever made middle-class audiences believe in the necessity of bombing innocent people."

Payne's little marvel.

There is no turning away from the screen.

Though an estimable success overall, The Return of the King has several scenes too many and too great a concentration on battles.

Amour is also unforgettable and one of a kind, two hours of torment that, in the end, you will probably not regret.

The comic contrast between the genteel snobbery of von Bulow, a Danish aristocrat, and Dershowitz's dry contempt for his well-tailored client is treated with understated but stinging wit in Nicholas Kazan's brilliant script. [9 Nov 1990]

The class act of action movies.