Daniel Day-Lewis

Miller freely uses the unusual as an allegory for the most usual of subjects: parentage and the rocky path from childhood to adulthood.

Anderson's most mature and ambitious film yet...[though his] growth as a filmmaker remains hindered by an obsession with effect and a disinterest in depth.

The impact is all in the broad strokes of Scorsese's design: the corresponding coming-of-age stories of three confused and violent adolescents: Amsterdam Vallon, New York City, and America.

Day-Lewis...wears well the weariness of the office and Lincoln's puckish yet subdued sense of humor, scaling the man closer to life-size than Mount Rushmore monumental.

Work[s] out some timely issues of the runaway male ego, the dubious excuse of great art for grotesque personality, and the shock and awe attendant to the select few who can see through genius and, for better or for worse, cut to the quick.