Critic consensus:How I Killed My Father is a penetrating character study of father-son ties.

Numbered reviews:1. Demonstrates why nowadays the best thing you can say about an American movie is that it plays like a French film.
2. Fontaine indulges her signature style, creating a carefully measured film -- the kind whose impact slowly sneaks up on its audience and haunts them long after leaving the theatre.
3. Chillingly prosaic.
4. How I Killed My Father is one of those art house films that makes you feel like you're watching an iceberg melt -- only it never melts.
5. What makes How I Killed My Father compelling, besides its terrific performances, is Fontaine's willingness to wander into the dark areas of parent-child relationships without flinching.
6. A compelling French psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart.
7. It's a tour de force, written and directed so quietly that it's implosion rather than explosion you fear.
8. Exquisitely nuanced in mood tics and dialogue, this chamber drama is superbly acted by the deeply appealing veteran Bouquet and the chilling but quite human Berling.
9. Fontaine's direction, especially her agreeably startling use of close-ups and her grace with a moving camera, creates sheerly cinematic appeal.
10. Bouquet gives a performance that is masterly.


Critic consensus:It plays more like a traditional melodrama than the Susanne Bier film that inspired it, but Jim Sheridan's Brothers benefits from rock-solid performances by its three leads.

Numbered reviews:1. Plays like a more polished but less effective twin to the 2005 Danish original.
2. Feels contrived,rather than organic. It's like a cynical attempt to make movie version of a downbeat Bruce Springsteen song.
3. Brothers is a powerful statement on loyalty, love and the cost of war.
4. Sheridan pulls you so deep into Brothers so fast that there isn't time for the alarm bell to go off that says: "Warning! Another Traumatized-Vet Movie!" You never catch Sheridan or Benioff grandstanding, only observing.
5. This is a powerful, disturbing film that explores common cinematic territory -- the ability of war to destroy the individual -- without seeming clichéd or familiar.
6. Brothers is that rare animal, a US remake of a fine foreign language film which works on both a creative and thematic level in its conversion to an American setting.
7. This intense story of family conflict is powerful and gripping, an absolutely mesmerizing motion picture experience.
8. A remake of a Danish film has much to admire but never comes together with the impact of the original.
9. Sheridan's film is well acted, but what could have been a powerful drama about the impact of war turns into a middlebrow (allegorical) melodrama about brothers who are polar opposites.
10. The result, wavering between intensity and bombast, is part Eugene O'Neill, part topical TV movie.


Critic consensus:A landmark Sergio Leone spaghetti western masterpiece featuring a classic Morricone score.

Numbered reviews:
1. With its amazing widescreen compositions and epic running time, this Western truly wins points for length and width.
2. I'm still in awe.
3. 'even the quieter romantic or reflective moments are filled with a sense of energy coming from the expectation that at any given moment something huge is going to happen.'
4. Explores legends and entombs myths into a film that is timeless and will live on as a work of art even if the western as we once knew it disappeared alongside its heroes.
5. Stunning big-screen cowboy film.
6. There are plenty of unforgettable moments, such as that sublime crane shot over the new settlement of Flagstone, accompanied by Ennio Morricone's achingly romantic music.
7. A masterpiece of style.
8. Leone's masterpiece, the pinnacle of his storied career
9. Sergio Leone made a fistful of great films, but none better than 1968's ode to the fading American frontier, Once Upon a Time in the West.
10. One of the greatest face movies ever made.