A portrait of kids who grow up too fast to compensate for the adults who haven't grown up enough. Anderson's eye for detail and design still remains rigorous, but here he lets a humanity flourish amongst them in a way that fully matches form to function.

Love triangles rarely work for me - they're severely overdone and seem to follow the same typical course every time. Unfortunately, this is no exception. In spite of that, however, everything about Ophüls's mise-en-scène is swooningly luxurious and irresistible. A rococo feast.

The best damn dino-riding, lion-manicuring, building-leaping, sleigh dog chariot racing movie you'll ever see.

The novelty of a ten minute shot of a guy sitting down may be enough to justify its existence, and your watching it, but how necessary is it really? What is its purpose? Why should I care? On the other hand, there are some truly stunning and captivating images here.

Amazing, innovative, musical, magical, refreshing. The sequence where Michel and Béatrice sit on stage, hidden behind the decor as the opera singers both narrate and inform their interactions, is a mini-movie masterpiece in itself.

An admirable effort/concept, but done in by its tedious repetitiveness and visual paucity. It picks up a bit towards the end, but getting through it all makes for a rather difficult sit.

One of Keaton's very best. Hilarious and thrilling in equal measure.

It's great, obviously. But... (and don't yell at me for this!), I was expecting more?

The cyclone scene is, as has been said ad infinitum, astonishing. The rest of the film is pleasant but doesn't quite live up to that level.

Amazing, heartbreaking, gorgeous. One of cinema's first and greatest tragic love stories told with Murnau's characteristic technical mastery.

How come no one else, in over 80 years of cinema, comes even close to being as ingeniously hilarious as Charlie Chaplin?

SO. MUCH. FUN. No movie has the right to be this ridiculously entertaining... yet, here we are.

Hilarious in its anti-social bitterness, refreshingly tender and true in its observation of some really messed up people. Theron is revelatory.

Excellent performance by Fassbender and individual scenes of great power (that date with Beharie's character is a stand-out, as is the climactic ménage à trois), but it's lacking in dimension. Not "Hunger"-level, unfortunately.

A mishmash: haunting, indelible images and boldly archetypal themes of innocence and evil. Poor child acting that significantly lessens the impact. Brilliant Mitchum and Gish performances. Rushed or otherwise tone deaf scenes. Ultimately, very good in parts.

Incandescent B&W photography and a tight build of suspense mostly mask some pretty glaring plot implausibilities. Yet for Malle, at only 24, you can't help but be very impressed.

Highly, infectiously winsome.

Rather like staring into a mirror that is then reflected by another mirror ad infinitum. A world like ours, where at once everything seems possible, although by the rules (limits) of nature hardly anything seems possible. The faulty memory. The fact that we can go on and on thinking up a meaning and then arrive back at a place of utter uncertainty. Epistemology through a mirror.

Tinged with the proper ingredients of melancholy, longing, and loss, however it's an idea ultimately not fully developed. Jonze misses a wide-open opportunity of incorporating the heartbreaker track "Suburban War" in the actual film.

Its beauty defies words. Malick has made a film that captures nature and life as if we were only seeing it for the first time. His world makes us wish ours was even a fraction as stunning, as attuned to the transcendent truths of humanity that lift us above the daily ire. If we can't quite have that, in this reality, then thank goodness we have Malick.

Totally lovely. A consistently enjoyable, always inventive and inspiring piece of comedy. Allen's best feature in close to 16 years.

Weird, absorbing surrealist fantasy that transforms subconscious social and psychological misgivings into feverish physical ones. Great Buñuel that should be watched alongside his "Discreet Charm of the Bourgeoisie."

Extraordinarily powerful, with virtuoso camerawork and scenes of startling horror. Easily one of the best WWII films.

Gorgeous photography, but overlong and rather bland.