Weird.

Interchangeably annoying and inspiring.

Still the funniest film ever made.

For a movie about breaking taboos, it seemed incredibly straight-laced.

I recall Spielberg's promise that he would make this movie without a heavy reliance on CGI -- the first shot of the movie contains a CGI gopher!

The little details are great, but somewhat slow-paced instead of completely gripping.

Elliott Gould is absolutely fantastic, and the screenplay is so witty and sharp.

This is how I like my pulp: confident.

You can sense the master behind the camera, but there's a strange flatness clinging to every moment (despite all that adrenaline in the editing and execution). I fear a second viewing would prove a slog.

The uneven tone and off pacing threw me, although I was definitely entertained.

Joey Lauren Adams annoyed the hell out of me. Ben Affleck got to play a wet mop. This kind of convinced me that I'm not much of a Kevin Smith fan.

Deliverance with kids.

I don't know if it's clever, but it's so much fun.

Overwritten, messy, beautiful, brilliant.

Brilliantly directed.

It's not too much fun watching a movie that never reveals itself for a single moment until the end - especially when the ending is so empty and ambiguous. Yet, Fincher still makes it so gloriously watchable.

Utterly cool, but clinical, I still can't help but believe it would be a better film with a few more car chases and some substance for its characters.

What a bar brawl!

Strange fun.

The final shot which lingers on Duchovny's face as he tries to process his feelings is the best moment. Otherwise, this a relatively entertaining film which screams made-for-TV.

Possibly the greatest film of the 90s.

I always had a theory that Charlotte and Uncle Charlie had a psychic connection.

At first I was unconvinced; by the end I was mesmerised. 3 hours flew by. Brilliance.

How do you make the greatest story ever told even better? Do it with Muppets, of course.

Unforgiven? Blade Runner? 12 Monkeys? Genius.

Exposition separated by sensational action sequences.

I feel sorry for Howard Beale.

After the beginning's comedic hi-jinks, I wasn't prepared for its brilliant sentimentality. The sequence at New Year's Eve is heartbreaking. The sequence with the cabin on the cliffside is remarkably visual and innovative. My only reserve is with Georgia: does she deserve the Tramp's affection? A beautiful film.

Surprisingly well-made and brilliantly executed horror flick that is only truly terrifying in its final moments. There's lots to be admired, though.

This really epitomises that old saying, "They don't make 'em like they used to."