Dave Kehr

"A warm, droll, deftly cracked romantic comedy."  

"Herrington seems to have tried to combine the star qualities of Tom Cruise (...) with those of Arnold Schwarzenegger (...) What results instead is a monstrous hybrid-a grotesquely implausible, oversized character that thoroughly overshadows the poor actor himself."  

"A profound, unsentimental portrait of male friendship"  

"Unpretentious and efficient, Curtis Hanson's suspense drama suggests that some sense of professionalism continues to reside in Hollywood."  

"Directed with great precision and sobriety"  

"It’s more cleverly cut than shot—which means that it moves quickly and energetically even as the concepts and characters disintegrate."  

"Truly magnificent (...) For those unfamiliar with silent film, this would be a very good place to start."  

"[A] silent masterpiece"  

"Aldrich keeps the dizzying reversals of the screenplay (...) spinning along, mixing violence and sly comedy in a way that Leone would later take in his own directions"  

"If DeMille’s direction of individual actors often seems quaint in 'The Ten Commandments,' his epic choreography of his fabled thousands of extras remains dazzling."  

"[It] is one of a kind (...) This is a remarkably intimate musical"  

"Compositional elements seem to have been chosen with fanatical care (...) 'A Matter of Life and Death' seems to overflow with ideas"  

"A masterpiece of the German silent cinema"  

"Extraordinary (...) Rich in moral complexities and spiritual underpinnings, filmed with a blend of brutal realism and a lyricism that at crucial moments passes into pure abstraction."  

"[It stands out] for its elemental style and relentlessly bleak vision"  

"No one seems to know what to do with the allegorical undertone of Jerzy Kosinski's script, but as a whole this 1979 film maintains a fine level of wit, sophistication, and insight."

"This is very likely the best adaptation of Hugo’s novel (...) That’s partly because Mr. Bernard avoids any trace of the literary; this is a film that vigorously expresses itself through performance and visual style."  

"[A] wildly experimental, unclassifiable film (...) Executed with Park's usual attention to the tiniest details of visual style"  

"It is precisely in the difference between 'Madame de' [the novel] and 'Madame de...' that all the genius of Ophüls can be found (...) It is entirely Ophüls’s own, and it contains the essence of his art."  

"It's very funny and, with its ragged arrangement of warring styles and ideologies, very original: it's like a smutty, sticky-fingered Godard"