The Window is not without a certain visual spell that makes it a first-rate artistic achievement.

I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.

It is cynicism, and not idealism, that is generally the mark of youthful immaturity, or rather it is the cynic who is generally the most foolish romantic.

I'm afraid you can't create tragedy out of abnormal psychology.

There's a part of me that looks beyond everything now.

The emotional elevation of the film is due in no small measure to the extraordinarily engaging performances of Anne Bancroft as the wife-mother-mistress, Dustin Hoffman as the lumbering Lancelot, and Katherine Ross as his fair Elaine.

Tokyo Sonata speaks to us, with feeling and passion, as one of the most eloquent statements on the world today that we are likely to see in this moviegoing year.