Bill Goodykoontz

There Will Be Blood is a masterpiece; Daniel Day-Lewis' performance as a ruthless oilman is without flaw.

McCarthy and his brilliant cast make hard work and truth-telling inspiring.

Sometimes infuriating but never depressing, The Florida Project doesn’t just shine a light on people rarely represented in anything but a condescending manner. Instead it brings us into their world and introduces us to its inhabitants in a meaningful way. We care about them.

The Act of Killing is a horrifying film, a surreal experience that explores the limits of human cruelty. It’s a film that is absolutely hard to watch. It’s also a film that absolutely should be seen.

“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.

The Zone of Interest, then, serves as a horror story about the past, and a cautionary tale for the present.

A sense of dread hovers over all these characters, and, by extension, the audience. It's in the air of the place, like oxygen. And vodka. Lots of vodka. Yet Zvyagintsev's achievement, or one of them, is creating a film that is not one long downer. It's not exactly a laugh riot, but we do care about these people.

Toy Story 3 is very much a worthy entry in the series, a movie well worth making (and seeing). It continues the legacy. It just doesn't expand upon it.

What Rukun wants, one suspects, is closure. What he gives the rest of us is a face in which to see the pain the butchers caused, a reminder that the architects of a massive tragedy remain present and unrepentant, the personification of the evil men do and a warning that it could happen again.

With Drive My Car, the journey is as satisfying as the destination. It’s great.

Son of Saul offers Nemes' harrowing vision of the possibility of peace, at least within oneself. And it is a singular vision, one that demands to be shared.

Her is an outstanding movie, in part because of its originality, but also because of its execution.

While Star Wars: The Last Jedi is a good movie and a worthy entry, it would have been stronger if Johnson didn’t telegraph those new directions before leading us to them.

What a great movie.

Spare, haunting and in its own way beautiful, Ida is an absorbing film about discovering the truth, and the attendant price we pay to learn it.

Using the interviews along with news footage and occasional re-enactments, Moreh conducts a kind of primer in the organization’s history, which is, in its own way, a history of modern Israel. It’s fascinating.

It’s 3 hours and 35 minutes long (including a 15-minute intermission), and while it’s full and complete, it never drags or feels padded. It is, simply put, a great movie.

Occasionally you see a movie that just satisfies on all fronts — the performances, the direction, the whole package. Even less occasionally you see one that does all that and moves you, too. “The Worst Person in the World” is one of those.

Anderson’s vision of this world, this era, these people, is so winning that you feel a part of it, yet with the removal of an observer. It works. That’s why Licorice Pizza is a blast.

Only Yesterday is a mature work of art, no matter what the genre, no matter what the format, no matter what.

First Cow sneaks up on you a little bit. You become engrossed in these men and their relationship, then their business, then their survival. And that’s definitely not nothing. Far from it, in fact

It is insane. In a good way. Whoever said "Too much is never enough" made an impression on Miller, who uses the phrase as a starting point and blasts off from there.

A genuine triumph, a great movie with astounding performances so natural, so genuine, that you forget it's a movie.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

Checking in at nearly three hours and so full of passions and appetites, it’s impossible for it not to exhaust you.

If you’re making a movie about someone with exacting standards, Day-Lewis is your man. Yet what’s so exciting about Anderson and Day-Lewis’ collaborations is that while the actor is always superb, they’re very much the director’s movies. They feed off of one another, creating collaborative works that show off each other’s strengths.

As its title suggests, This Is Not a Film may not be what we're used to in a movie, but in many ways it's much, much more.

It’s powerful, a technically dazzling achievement; so audacious is Nolan’s filmmaking that if it didn’t serve the story you’d think at times he was just showing off. He’s not.