With the exception of the opening scene -- whose purpose is chiefly comic -- the movie is one, extended climax. Even with flashbacks and other time jumps, it never lets up. You have to go back to Henri-Georges Clouzot's 1952 "The Wages of Fear" to recall suspense this relentless.

A great little film, dignified by a superb performance, Diamond Men is a gem.

It's an astonishing movie, with a real-life feel.

Is "The Last Waltz" the greatest rock movie of all time? It makes its case persuasively in a restoration overseen by director Martin Scorsese and producer Robbie Robertson that's been released to celebrate the 25th anniversary of the concert it made famous.

An extraordinarily riveting drama.

The best heist flick since "The Usual Suspects," a perfect 10 of a movie.

The list of great moments is virtually endless.

A brilliant film--vivid, haunting, intelligent and in good taste, wonderfully acted, wonderfully written and directed.

It's a celebration of young American women, finding them smarter, tougher, shrewder, more rigorous, more persistent and more honest than any movie in many a moon.

With elegant, clockwork construction, Smith has transplanted his novel of greed, betrayal and getting what you deserve to the screen, where it is told by director Sam Raimi with a spareness befitting the whiteness of its snowed-in setting.

More like a waking nightmare than a docudrama. A true story of murder and justice evidently miscarried, wrapped in the fictional haze of a surrealistic whodunit, it will leave you in a trance for days. [2 Sept 1988]

More than just one of the best movies so far this year, it is a revolution in young-adult entertainment.

Hackman anchors the movie with a performance of remarkable control. You see his hurt in his glances at his shoes, his little phony chuckle; you can feel him carrying his secret -- it's a rage held together with rubber bands. This is the Hackman of "The Conversation," not "The French Connection." [27 Feb 1987, Style, p.c1]

There's no doubt about the film's sheer power and taut originality.

A humanistic gem of a movie, with unforgettable performances from Linney and Ruffalo.

Hopkins and Thompson's downright marvelous duet is supported by a host of deft players, and the detailed re-creation of this small universe is in all ways remarkable.

Superbly conceived anti-biopic.

The Piano is dark, sublime music, and after it's over, you won't be able to get it out of your head.

Not since the 1972 'Cabaret' has there been a movie musical this stirring, intelligent and exciting.

Simple, yet quietly astonishing film.

Has to be one of the must-see films for any student of Hollywood fame and infamy.

Dramatically, this is something of a waking dream.

Seems less like a fictional story than a tour through Freud's forgotten files.

A wonderful, piercing and hilarious examination of high school politics and how bitter and ruinous it can become.

Gripping, whole and nourishing. Certainly of the fantasy film series currently in American theaters -– I include "Harry Potter and the Secret Toity" and "Star Trek: Halitosis" -– The Lord of the Rings: The Two Towers is the best, and not by just a little.

It doesn't matter how many times you see these images. They're always exciting.

Instead of "Masterpiece Theatre"-style fawning, [Scorsese] fills this movie with visual flow, masterful cinematography and assured direction. There's an alert, thinking presence behind the camera.

An instant slapstick classic from Disney and Steven Spielberg. Already, it's a hare's breadth away from legend. [22 June 1988]