If The Hunchback of Notre Dame isn't for younger kids, it's an ambitious, often stirring film that's easy to recommend for just about anyone else. [21 June 1996, p.17]

This one's a thousand times better than the weenie Exorcist II: The Heretic they made in 1977. [28 Sep 1990, p.6]

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.

It's got everything the original had. Best of 1991. [22 Mar 1991, p.7]

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.

A powerful film - the best and fullest expression of Mamet's brilliantly brutal sensibility to reach the movie screen. [02 Oct 1992, p.19]

This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.

This is getting a little monotonous, but yes, it's another instant classic. [24 June 1994, p.17]

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.

Stone and Bogosian have gotten hold of a disturbing, even frightening, subject here, and they ride it for all they are worth. Talk Radio says that the depravity of the mass media is fed and surpassed by the roar of the maniac crowd.

The real force of Vertigo, though, comes from Hitchcock's intimate depiction of perversity. Seldom has obsession stood so nakedly revealed. [Restored version; 15 Nov 1996, p.20]

Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.

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.

Aliens is one of the most intensely shocking films to open in ages: Even if you think you've got the stamina for cinematic suspense, you may find yourself out in the lobby, midway, catching your breath. This film is also the best monster movie of the year and the best picture of any kind to open so far this summer. Put it another way: Aliens is the Jaws of the '80s.

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.

No breasts. Twenty-one dead bodies. Exploding pickup. Exploding supporting actors. Neck-crunching. Zombie corral. Zombie target practice. Zombie bonfire. Eighteen gallons of blood. A 74 on the Vomit Meter. Kung Fu. Zombie Fu. [2 Nov 1990, p.13]

If Larry Fishburne is like a Clint Eastwood who can act better, the new film is like a Dirty Harry movie done right. [17 Apr 1992, p.20]

The intensity of Caruso's close-to-the-vest performance in this absorbing, brutal crime movie suggests that he may have the makings of a big-screen star. [21 Apr 1995, p.29]

Hardware is the best nuclear-radiation twisted-metal jubilee since Mad Max. [05 Oct 1990, p.11]

A thriller that grabs you even before the ironies of its plot kick in is a thriller you don't want to miss. No Way Out is that sort of movie, a thriller that's thrilling throughout.

What's different about this film is that it holds together better than Brooks' other movies. And in the end, it's somewhat sweeter. [17 Jan 1997, p.21]

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

A classic of aggressive nonsense. Also, there is something tighter about Duck Soup as compared with their later efforts. It isn't just the absence of an extraneous love story, or the fact that Harpo doesn't play the harp and Chico doesn't "shoot the keys." Nor is it that much of the comedy crosses the magic line from parody into satire. It's a glistening patina of whimsy that rushes through the work, a heightened effervescence. In addition, the film is only 68 minutes long. [16 Dec 2001, p.16]

Excellent flick. [22 Feb 1991, p.13]

For the first time on the big screen, Williams' whirligig wit is totally unencumbered - and it isn't just free, it's supercharged by animation.

Quite simply, Ran is a great, nightmarish motion picture.

With its delicate fabric, this film sometimes seems in danger of unraveling. But ultimately it holds together, partly due to Foster's fine, poignant performance and also because some of the characters surrounding Nell reflect aspects of her personality. [23 Dec 1994, p.23]