1. Visually rich musical, with creative ballet finale.
2. A francophile and frustrated painter, Minnelli identifies completely with Kelly's American painter Jerry. Arguably no Hollywood director was as knowledgeable of French art as Minnelli, whose work evokes the light and color of his cherished painters.
3. A musical both ludicrously overpraised (especially in Hollywood) and underrated.
4. Never the triumph that it really should have been, largely because of a thin script and the flyaway Caron, this is still good, colorful fun.
5. One of the most imaginative musical confections turned out by Hollywood in years.
6. While not nearly the musical it's cracked up to be, this 1951 film is absolutely required viewing for anyone who wants to see the studio system (MGM style) at its gaudiest, most Byzantine height.
7. Beautifully designed, An American in Paris features plenty of unnecessarily lengthy dance numbers and a mildly interesting plot.
8. The dazzling French fried musical is Hollywood's homage to Paris's joie de vivre.
9. The real reasons to see An American in Paris are for the Kelly dance sequences, the closing ballet, the Gershwin songs, the bright locations, and a few moments of the ineffable, always curiously sad charm of Oscar Levant.
10. An American in Paris (1951) is one of the greatest, most elegant, and most celebrated of MGM's 50's musicals, with Gershwin lyrics and musical score
The plot may be problematic, but such concerns are rendered superfluous by Gene Kelly and Leslie Caron's star power, the Gershwins' classic songs, and Vincente Minnelli's colorful, sympathetic direction.

1. A surprising return to form for the venerated director, recalling (if not matching) his best work from the 80's.
2. The dialogue is so crisp and straightforward, you might forget you're watching a Woody Allen movie, until one of his occasional one-liners zings you.
3. Match Point crafts the beginning of a better than average fish-out-of-water tale, bores us for an hour with a milquetoast affair, then gives us a wild sucker punch of an ending that even a Nostradamus / John Edward tag team couldn't predict.
4. Match Point, a film that makes us examine well-considered questions in new light, is what Woody Allen sees when he gets out of his comfort zone, we can only hope he sees the benefit of travel.
5. The combination of alluring atmosphere and ambition makes Match Point one of Allen's most involving movies in years.
6. Woody Allen's Match Point is a too-rare thing: a fine film that waxes philosophical about morality, ambition and relationships.
7. If Hollywood had a Comeback Player of the Year award, Woody Allen would get every vote for 2005.
8. Allen has not made a movie this involving for a decade, since Mighty Aphrodite.
9. In every scene, Allen's direction is unflinchingly clear-eyed, and it's a pleasure being walked through London at the same unhurried pace that he's taken through Manhattan all these years.
10. Johansson finds her own speech rhythms in Allen's arch dialogue, and in the process, gives his film a quality that his recent work has often lacked, the recognizable flutter of a heart beat behind the façade of the character.
Woody Allen's sharpest film in years, Match Point is a taut, philosophical thriller about class and infidelity.

1. Bond's global escapades have a certain lyricism to them, something that unfortunately comes to an end in the poorly executed space segments.
2. Frivolous, yes, but never dull.
3. It's exactly that ridiculousness that makes it so enjoyable.
4. The space-age plot is spread dangerously thin, the fights all tend to slapstick, and the wanton destruction has become rather too predictable. But it's held together by likeable performances.
5. While parts of Moonraker are rather silly, solid special effects, well-executed action sequences, and a strict reliance upon the 'Bond Formula' keep this film among Moore's better entries as the British superspy.
6. ...one of the better of Moore's Bond flicks, complemented by its exotic locales and outer-space motif.
7. What little plot there is to this movie is basically a rehash of The Spy Who Loved Me's script.
8. Bond meets Star Wars in one of the series' sillier outings.
9. Broccoli just keeps piling on the goodies: lush Ken Adam sets, gadgetry and gams galore, super stunts and effects.
10. Christopher Wood's script takes the characters exactly where they always go in a James Bond pic and the only question is whether the stunts and gadgets will live up to expectations. They do.
Featuring one of the series' more ludicrous plots but outfitted with primo gadgets and spectacular sets, Moonraker is both silly and entertaining.

1. It's unseemly, I know, to praise a movie like this for the stand-up-comic affability of its host. But Reich's engagingness also gives credence to the seriousness of his message.
2. Filmmaker Kornbluth personalizes this story by using Reich's warmth and humor to win us over and keep his presentation from becoming a dry recitation of facts.
3. Any politician hoping to redistribute America's wealth should screen it before every stump speech.
4. Reich manages to infuse this enlightening/infuriating documentary on extreme income disparity in the United States, and the corollary marginalization of the middle class, with an optimistic spirit. One that may or may not be justified.
5. A cinematic listicle of misleading economic talking points.
6. Reich is funny, poignant, passionate.
7. Reich is no condescending intellectual. He has no contempt for people of the opposite point of view. He even has nice things to say about Bill O'Reilly.
8. [Reich is] a great, charismatic movie hero, and he makes you feel you're in safe hands.
9. Mr. Reich ties together his talking points with a reasonable-sounding analysis and an unassuming warmth sometimes absent from documentaries charting America's economic woes.
10. If you like your movie stars to be smart, engaging, well-spoken, self-deprecating and Danny DeVito-size, you couldn't do much better than this leading authority on economics who served under presidents Ford, Carter and Clinton.

While it arrives in a glut of similarly themed documentaries, Inequality for All distinguishes itself with a compelling presentation of an important message, as well as much-needed splashes of wit.