"The love story is so powerful, the spectacle so grand, that Marcel Carné’s masterpiece (an indispensable Criterion production) isn’t often regarded as a genre piece, though it is inhabited by every kind of criminal and involves an unforgettable murder in a Turkish bath—made particularly ghastly for occurring just off camera. Yet Marcel Herrand’s Lacenaire is one of the cinema’s most fascinating monsters, and his machinations resolve the fate of everyone else, including the muse incarnated by the great Arletty."

"I saw this again at the twenty-fifth anniversary screening at BAM, and I (still) think it’s a masterpiece. Spike Lee’s day-in-the-life in Bed-Stuy feels more bracing and urgent than ever: angry, sexy, and very funny. It’s exhilarating filmmaking, both hugely entertaining and shocking. The ending is devastating. I always think of that image of three guys sitting in front of a red wall . . . the faces of the cops, driving past in slow motion, looking at them."

"The mood of a decade condensed and reflected in 160 minutes—Altman’s masterpiece and the greatest film with a mid-’70s sensibility, wandering and a little stoned, yet layered and soaring with humanism. It’s Altman’s friendliest film in many ways, a party movie, even though it ends with an assassination. I don’t know a better movie to use as a time-capsule reminder of who we were and where we were as a country in 1975. Only Hal Ashby’s Shampoo comes close."

"I’ve read, reread and loved this book most of my life. It never disappoints. Twain writes with an easygoing virtuosity that makes American English the equal of any King’s. This is the book that codified American English, not Moby Dick or The Scarlet Letter. Those two great books are American Literature. Huck and Jim are America. The seeds of the tragedy of racism are planted on nearly every page of Twain’s masterpiece. Those birds are still coming home to roost."