Cape Fear (1991)

"Exquisitely overwrought, with maximum tension and brilliant acting, especially by Juliette Lewis."

Caravaggio (1986)

"Remarkably true to Caravaggio's visual aesthetic while expanding Jarman's own repertoire of tones and ideas."

Carnival of Souls (1962)

"A genuinely creepy thriller, humble in scope and lacking some polish, but executed with ghoulish intuition."

Cat People (1942)

"High-contrast frightfest with nervy lighting and production design and a well-maintained air of dread."

The Celebration (1998)

"Pungent family drama, but thuddingly self-serious and wildly overpraised."

Cemetery Man (1994)

"Like Shaun of the Dead as rewritten by Eugène Ionesco.... Has the surface qualities of a spoof, but none of its comfy core."

Chang - A Drama of the Wilderness (1927)

"Beautiful and engaging, if factually dubious... Built, shot, and scripted to entertain literally anyone, from a 4-year-old to a nonagenarian member of its own original audience."

Changing Lanes (2002)

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Charlie's Angels: Full Throttle (2003)

"Diagnosis: D.O.A....Novelty value: significantly diminished. Stunt sequences: total overkill. Directorial style: antic incoherence."

Children of Heaven (1997)

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Cinderella (1950)

"Far from the peaks of Pinocchio or Sleeping Beauty, but still a solidly enjoyable Disney venture."

Citizen Ruth (1996)

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Climates (2006)

"The obvious, meticulous deliberation with which Ceylan has framed his images and timed his edits does not conceal the banality of what he produces."

Clueless (1995)

"Who doesn't like Clueless? It isn't a masterpiece, but it still feels indispensable."

Collateral (2004)

"I got actual, physical chills, not just because the movie is nifty-cool, though it is certainly that, but because it is metal-cool, brrrr-cool, glass-panes-at-midnight cool."

Come Back, Little Sheba (1952)

"Nothing comes alive at you. Nothing roots us to the Delaneys, and in turn nothing grounds them in any world except that of Inge's creaky schemata."

Control (2007)

"Parades so many smart, savvy strategies for avoiding the typical music-bio pablum that it's particularly dispiriting when the middle and end of the film so dully and incorrigibly embrace those very clichés."

The Cook, the Thief, His Wife, and Her Lover (1989)

"Singular and unforgettable, but also grotesque and hyper-inflated; hard to pass up, but harder to sit through."

Coquette (1929)

"I guess 1929 audiences knew a stinker when they saw one coming. There is very little to criticize in Coquette, because there is so little in it, period."

Crash (1996)

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Cries and Whispers (1972)

"The most haunting death story in the movies, exquisitely photographed, like a reverie just before the afterlife."

The Crow (1994)

"Certainly overwrought, but its images have a surprising durability."

The Crying Game (1992)

"A spindly, absorbing thriller about politics, ethics, sexuality, and the looseness of identity."