O (2001)

"Dark, intelligent."

O Fantasma (2000)

"While the transgressive trappings (especially the frank sex scenes) ensure that the film is never dull, Rodrigues's beast-within metaphor is ultimately rather silly and overwrought, making the ambiguous ending seem goofy rather than provocative."

Oasis (2004)

"The combination of Lee's discomforting subject matter and distancing style ... makes this slow-moving drama a challenge that doesn't seem entirely worth the effort."

Ocean's Eleven (1960)

"Sinatra, Davis, and Martin performed their club acts at night and worked on this Las Vegas-set film during the day, and the good time they were having fairly jumps off the screen."

Ocean's Thirteen (2007)

"The smug "It's our party and you're not invited" vibe of the second film is gone, replaced by a fizzy sense of shady glamour that makes an insanely complicated story of scams and swindles go down as smoothly as an ice-cold Bellini."

October Sky (1999)

"Plays like something spewed out by a top-drawer screenwriting program!"

The Odd Couple (1968)

"he plot, nothing more than a premise based on Simon's real-life brother, Danny, goes nowhere, but then it's not really supposed to."

Odd Obsession (1959)

"Even more striking than the film's flagrant sexuality and its disconcerting, absurdly comic twists is Kon Ichikawa's stylistic flair -- his use of freeze-frames, distancing insert shots, and unrealistic color."

Oedipus Rex (1967)

"Slow-moving, sensual, and often gorgeous to behold."

Off the Lip (2004)

"The plot and characters feel like afterthoughts."

Office Space (1999)

"Even if it doesn't live to its inspired beginning, Mike Judge scores something with all the marks of a workplace cult classic!"

The Oh in Ohio (2006)

"Billy Kent and Adam Wierzbianski's genial comedy about one woman's search for sexual satisfaction takes an unsmutty attitude but falls disappointing short of its ambition to be both sympathetically straightforward and funny."

Oh, God! (1977)

"Reiner does one of his best directing jobs and never resorts to some of the silliness he's demonstrated in other films. Denver is very affable and could have had a good movie career given the right material."

Old Joy (2006)

"A palpable air of melancholy hangs over this two-man character piece like the Pacific Northwest's overcast skies, a chilly reminder that yesterday's good times are over and tomorrow may not be much fun."

Old Yeller (1957)

"Disney Studios' first and best attempt at a boy-and-his-dog film..."

The Oldest Profession (1967)

"None of the segments is good, especially in comparison to other works by the directors."

Oliver Twist (1948)

"Many of the novel's characters have been excised or compressed to fit the time frame of the film, but only the most die-hard Dickensians will protest."

Oliver! (1968)

"Oliver! is better than most screen musicals of the 1960s, a period when oversized, poorly rendered songfests virtually killed the genre."

The Omen (2006)

"There are no surprises for anyone who's seen the earlier version, and younger horror fans may find the modest body count and restrained gore unsatisfying."

On Dangerous Ground (1951)

"A realistic and often gripping crime yarn."

On Golden Pond (1981)

"Fonda was 75 when this picture was made and must have known he didn't have much time. There could have been no finer final curtain for him than this."

On Her Majesty's Secret Service (1969)

"One of the more entertaining Bond films."

On the Line (2001)

"Let's be blunt: Bass can't really act."

On the Rumba River (2008)

"Like The Buena Vista Social Club, to which it has been compared, the film's great strength is its performance footage."

On the Waterfront (1954)

"It is all the more grim and hard-hitting because of the steel-gray look of cinematographer Kaufman's startling, neo-documentary approach."