Bill Goodykoontz

When it's good, The Imitation Game is very good. Cumberbatch is terrific, which is not surprising, given the marriage of role and actor.

What is so impressive is how deeply Abreu makes us feel what Cuca is experiencing.

There is no denying that the environmental message is heavy-handed.

It is a fascinating document of making a comeback record — sorry, Tanya — while balancing the hard work and the gentle coaxing and cheerleading required when working with a complex talent like Tucker.

A really entertaining effort, aided by some terrific performances.

It is a brutal, beautifully shot movie that starts out to be about revenge but then becomes something more, something even more primal and disturbing.

These characters are more than willing to risk their lives to further advances in science. That’s a passion and dedication that fuels Europa Report, and Cordero makes the most of it.

In The Disaster Artist, James Franco proves himself a good director, a really good actor and something of an alchemist.

Colossal is a monstrously imaginative movie with a premise so bizarre it’s amazing it ever got made. But it’s a good thing it did.

There’s a great journalism movie hidden in Bad Education. Forgive the biased viewpoint. Luckily, there’s also a really compelling, breezy comic crime drama — with a terrific performance by Hugh Jackman — sitting there in plain sight.

Brown is a sick man, but Harrelson makes him so interesting, so charismatic, so ... watchable, that you can't look away, even if his actions make you want to (and they will).

Through it all, you can’t stop watching Ben, Mortensen’s character. At some point, though, you realize it’s no longer because you admire him for his ideals but want to strangle him for his undying adherence to them.

One would expect a film about French artist Pierre-Auguste Renoir to look beautiful, to be shot in warm, sumptuous colors. And one would not be disappointed in Gilles Bourdos’ Renoir.

By the end of the ride, we’ll see glimpse of happiness, sadness, joy, heartbreak, maybe even tragedy, if cell phone-shot recollections are to be believed. All bases are covered, in other words, in one late-afternoon ride, a ride Gondry and his cast will make you want to take.

If you’re a student of history or a Wikipedia devotee, some aspects of the film, particularly its conclusion, might bother you. But they shouldn’t. Watch a documentary if you want straight facts. Watch what Kreutzer and Krieps have come up with here for something more.

It's stunning (and amazingly well done) and hard to believe.

Writer and director Sarah Adina Smith’s vision is so confident, so sure, that it’s worth trusting her to see where the story goes. Plus, you get Rami Malek at no extra charge.

The story is intriguing enough to make Mud a good movie. Led by Sheridan and McConaughey, the performances make it something more.

“Never Rarely” is not strident, it doesn’t preach, it doesn’t harangue. Instead it relies on confident direction, brilliant acting and a deceptively straightforward story to make its point. Really, you probably haven’t seen anything like it.

You don’t lose yourself in the film the way you might like, but there is never a second in which Oldman is not riveting.

The Babadook is a terrific horror film.

What matters is creating, and “Eat That Question” turns out to be a stirring look at the creative process examined, however reluctantly, by someone who created a lot, and exceptionally well.

What makes the movie so good is Williams' absolute refusal to play along.

An epic-length, fascinating film about faith and its opposite number, doubt.

Scafaria gives her characters and the situation an absurdist tone that makes the whole concept a little more palatable.

Eschewing a tidy wrap-up, Reeves doesn't leave us feeling manipulated, as so often happens in films like this. Instead, we want to know where the story goes from here, and that's no small accomplishment.

Floridly explicit, gleefully disgusting and yet somehow kind of sweet, the film is a showcase for Carla Juri.

Overall The Insult is a compelling, timely movie. Doueiri is doing what artists do: Making the personal universal, while at the same time showing the impact a few poorly chosen words can carry.

Creepy, confounding and more than a little curious. It's also quietly compelling.

Now this is a scary movie. And, given that it's a horror film, that means it's a good one. [18 Oct 2012]

An unorthodox delight.

The porn, the drugs, the smog, the bad haircuts - you can play it for laughs or play it straight. With terrific performances from Ryan Gosling and Russell Crowe, Black does a little of both. The film is at once a nod to hard-boiled film noir and a send-up of it.

The Dark Knight Rises brings the Batman story to a close in enormous, satisfying fashion, not just on the huge scale it builds for itself, but on a human level as well.

The directors (Lapeyre also wrote the film) have gathered a terrific bunch of young actors for the film, which plays at times like a “Lord of the Flies” knockoff but also has something original to say.

Abu-Assad does a masterful job of showing, in these seemingly hopeless circumstances, the fragility of life.

We Steal Secrets: The Story of WikiLeaks is at once an awkward mingling of two complex life stories and a gripping, necessary look at how information is gathered, shared and, yes, stolen.

Not a lot happens, other than eating between small bits of drama and large doses of humor. If you saw the first film, you know how good that can be.

Moreno felt as if she didn’t have much worth as she struggled, she says. One of the most satisfying things about the film is that through decades of struggle she clearly has found that worth. It’s in her confidence, the confidence of someone who has come out the other end of a long struggle with the knowledge than nothing is going to get her down. You can’t get the best of her. It’s inspiring.

If you're willing to let a movie wash over you and work at what it might mean, you'll love "Holy Motors," Leos Carax's surreal ode to … identity? Movies? Performance?

Weisz’s performance is what provides the tension. It’s impossible to read her — or, more accurately, it’s possible to misread her. That’s kind of the same thing, but not quite.

Lanthimos makes statements about the nature of love and relationships and their place in society, and there are fewer statements more important than those.

Affleck is the center of the film. His Doug is, in some respects, rather like Affleck - the director of the elaborate heists, as well as a performer in them.

Whether it’s the next in a long line or a summation of a fun series, Mission: Impossible — Fallout is a movie that all but defines escapism at its finest.

The Fall Guy isn’t exactly Oscar bait. Which is fine. Instead, it’s the rare movie that succeeds on its own terms, doing exactly what it sets out to do, which is entertain its audience.

This is real edge-of-your-seat stuff, in a throwback way - no booming special effects, just old-school timing and execution.

It relies on a singularly brilliant performance by Colin Firth to make it one of the year's more satisfying films.

Osmond may tell the story to wring maximum emotion out of the audience, but so what? Isn’t that why people make these movies? It is. And more importantly, it’s why people watch them.

This is World War I from a woman's point of view, a different perspective than we usually see. It's the story of someone who doesn't fight — who would be so shaped by tragedy that she would vow never to — but for whom the horrors of war are just as vivid and devastating.

There are plot twists and turns, some of which amuse, some of which disgust. Issues of gender and identity take an eventual backseat to gruesome experiments -- gruesome because of the manner in which they're conducted, by an unfeeling monster.

Johns makes it all bearable. Inviting, even. His performance has such a gentle humanity, especially in the darkest scenes, that you can’t turn away. You don’t just root against the system. You root for him, and that’s an important distinction.

The Lesson is a quiet little film with surprisingly sharp teeth.

Mommy is a film as harrowing as it is exhilarating, a story sometimes hard to watch but impossible to turn away from.

An Honest Liar is a fascinating look at what the truth means, and how it means different things to different people. It's also a reminder that no one has a monopoly on it. Not even the Amazing Randi.

22 Jump Street is, ultimately, a celebration of the silly and the sweet, a combination that's welcome again and again.

Once you’ve seen the work Stallone and Jordan do in Creed, the idea of a “Rocky 8” doesn’t sound so bad.

It is a fascinating film, and if it skimps somewhat on the moral complications of this kind of art, it holds nothing back in terms of volume: Image after image grabs our eye and often grips our throat.

James makes some confident decisions in the film’s last act, showing a welcome trust in the audience, particularly for a debut feature. She also gets fascinating performances out of her actors — each does a lot with a little. The performances aren’t as muted as they are quietly, intensely focused.

Jane is a compelling movie, one that shows us not just more of the world, but also our place in it.

It’s dark, nihilistic, funny and ultimately sweet and hopeful, and thus so inadvertently perfect for people stuck at home practicing pandemic avoidance that you kind of have to love it a little.

The Immigrant is not exactly the feel-good hit of the summer, but it is a compelling tale of what, in the end, can only be called survival.

This is, in fact, one of the more violent movies in recent memory. But Stone doesn't let anyone off easy. Violence has an effect here, has meaning, has relevance to the story. And that's a good thing; otherwise, it would be hard to stomach.

There is a delightful innocence to Spider-Man: Homecoming, director Jon Watts’ take on the web-slinger that mixes some (but no too much, at least for a while) high-tech wizardry with some old-fashioned family fun.

The Eternal Daughter doesn’t scare you in the traditional sense as much as it moves you, and that’s every bit as powerful an achievement.

The Hornet's Nest serves as a somewhat effective bonding exercise for father and son. But the best of what it has to offer moves beyond that, and puts us alongside the people fighting a daily battle and, sometimes, heartbreakingly, losing the fight.

Schoenbrun’s direction is masterful, both in terms of what they get out of the actors (Smith and Lundy-Paine give committed performances) and in their visual language. The look of the film is both haunting and inviting — not unlike that of a nightmare, or a horror film. “I Saw the TV Glow” has elements of both, and more.

A gorgeously shot, well-acted Western that resonates more the more you let it settle.

Armageddon Time is above all what it sets out to be: a story about growing up, and all the joy and pain that entails.

The beauty in Maines’ script, and in the performances, is how perfectly modulated everything is. Maines clearly gets some digs in at the Catholic Church, and Catholic education particularly. It’s really funny.

It's refreshing to see an animated movie that doesn't look as though the idea for the Happy Meal came first.

Laurence Anyways is like a big, ornate, overstuffed pillow of a movie. It’s attractive and comfortable, even if there’s just too much of it.

Still Mine is a rewarding, performance-based film, ultimately a small pleasure to spend time with.

Fantastic acting by the likes of Garret Dillahunt, Chris Cooper and Joel Torre lift characters above the cliched, offering a one-sided history lesson that is still well worth learning.

The Lost City of Z is a throwback, an epic film about a grand adventure.

The easiest way to describe My Golden Days is as a coming-of-age romance, but Arnaud Desplechin’s film, with its memories and carefully nursed grudges and moments of heartbreak and betrayal, feels weightier than that.

Among other things, “The Outfit” is a celebration of those who sit quietly, who soak in what everyone else is saying, who you overlook.

That's not a pretty story, of course. But it's a compelling one and, thanks to Wells and a cast that includes Ben Affleck, Tommy Lee Jones and Chris Cooper, an entertaining one.

As with all of the films he writes, Sheridan takes us to places that are foreign to many of us, yet immerses us so deeply into the sense of place that everything feels familiar, recognizable. It’s a trip worth taking, making “Wind River” another stop on the unique cinematic travelogue Sheridan is building.

For most of the film, Weitz, riding a fantastic performance by Demián Bichir as the landscaper in question, succeeds in showing the day-to-day struggles that exist beneath the political rhetoric and upper-case headlines.

In many ways BlackBerry is the standard-fare cautionary tale of tech start-ups. Insert your Icarus metaphors here. But there is a kind of sweetness to the film that makes it more compelling than the typical rise, crash and burn movie.

An intriguing look at the effects on one man's life; whether they're worth the cost is something Steinbauer leaves up to us.

It's very much an old-time moviegoing experience; the film could have been made in 1940, and that's a compliment.

Brigsby Bear is charming, sweet, creative, different and disturbing.

So much of "The Hunting Ground" describes the behavior of college students at their worst. Watching Pino and Clark find some measure of peace and healing while offering the same to others shows it at its best.

Stuff just happens, some of it funny, some of it uncomfortable, some of it good, some of it bad. Just like real life, which is what makes Turn Me On, Dammit! so weirdly enjoyable.

If you’re a fan willing to look past his misfires (or why he agreed to a “Bad News Bears” remake) or a film buff wondering about how a director operates on a set, “Dream Is Destiny” will be a delight.

A sequel, by definition, can’t be as innovative as the original. And there is no sure-fire crying scene here like — spoiler alert — the fate of Bing Bong in the first film. (I rewatched it again to make sure it still has the desired effect. It, ahem, does.)

It shouldn’t work, honestly. There’s too much going on in too many directions at the same time. But Villeneuve brings it all together somehow. We’re more than five hours in between the two films (this one is 2 hours and 46 minutes), and while the lack of a sequel wouldn’t be as infuriating as it was last time around, I can’t believe I’m saying this, but I think I’m ready for more.

The acting is uniformly great, as strong an ensemble performance as you’ll see. Franz’s direction is assured.

A tremendously entertaining take on film noir, with all the usual elements of the genre in play - crime, death, possibly murder and doomed romance.

Thor: Ragnarok is a blast, pure and simple.

Demon is a powerful film, one that makes us wonder what greater films Wrona might have made.

A delightful look at the public career and mostly private life of the ultimate professional amateur.

This is a film that finds horror not in the extreme, but in the mundane. That alone makes it a worthwhile entry in a genre that it both inhabits and rises above.

Blade Runner 2049 stands as its own film, in addition to a continuation of the sequel. It’s not the bolt out of the blue the first movie was, but how could it be? Instead, as the break between installments would suggest, it’s a furthering of not just the original story but the original world, and that’s quite an accomplishment.

Impressionistic, unconventional and often downright weird, it’s most of all an exploration of humanity — what that means and how it is achieved.

It's Cooper's movie, and, although he has been good in pretty much everything we've seen him in, there is a depth to this performance we haven't seen before. It's a tricky balance: As the legend grows, the man diminishes. Cooper and Eastwood do an exceptionally good job of maintaining that.

Sometimes, a movie just has a magic about it, something that makes you look past implausibility and plot holes and whatever other shortcomings it may have and leaves you feeling good just for having seen it.

There aren’t enough scares to keep you on edge in Mr. Harrigan’s Phone, but there’s enough else going on to keep you interested.