Christy Lemire

Röhrig has the tricky task of carrying this story on his shoulders—and us along with him—without the benefit of being able to emote or even say much. It’s a physical performance as much as it is a quietly emotional one; he has to establish who this man is mainly through his gestures, demeanor and energy.

After deftly navigating a variety of tones, Rorhwacher places O’Connor’s Arthur at the center of a moment that’s truly surprising, and surprisingly poignant. In the process, with this film that feels suspended in time, she proves once again that she’s one of the most singular and artful filmmakers working today.

Paul Thomas Anderson’s golden, shimmering vision of the 1970s San Fernando Valley in Licorice Pizza is so dreamy, so full of possibility, it’s as if it couldn’t actually have existed.

Cotillard can be an exquisitely subtle actress, with expressive eyes and a face that are made for quiet suffering. Even when Two Days, One Night drags a bit, Cotillard’s performance remains compelling.

While writer/director Lulu Wang’s film is obviously personal and culturally specific, it achieves a universality and a resonance through its vivid depiction of a family in the midst of crisis.

Paddington 2 proves the smart-but-sweet combination that marked the first live-action film was no fluke.

It’s some of the absolute best work of Hopkins’ lengthy and storied career.

The Spanish maestro knows precisely how to get all the colors out of his charismatic muse, and in turn, the veteran star takes his material and makes it feel both fiery and grounded.

It’s as if “Barbie” were actually about Weird Barbie, but even that idea doesn’t quite do it justice. A more apt description is: It’s the best movie of the year.

Braga has created a formidable force of nature in Clara.

Birdman is a complete blast from start to finish.

It would seem like an impossible feat, but somehow, directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have breathed thrilling new life into the comic book movie. The way they play with tone, form and texture is constantly inventive and giddily alive.

A digitally restored version arrives in spectacular fashion with its mixture of bold imagery and biting wit.

Harrison’s powerful performance and the chance to learn about this extraordinary artist make Chevalier more than worthwhile.

Renaissance is both intimate and vast as it basks in Beyoncé’s impossible beauty but also turns the camera toward the audience to emphasize the powerful sense of community the Beyhive provides.

April is as exquisite as it is excruciating: a film that will linger with you long afterward, but you’ll probably never want to watch it again.

Apatow also has a knack for spotting up-and-coming talent and using his considerable influence to help foster it on the biggest stage and under the brightest lights. He’s done this with Lena Dunham (“Girls”) and Amy Schumer (“Trainwreck”), and he’s done it again with Nanjiani.

Larger than its predecessor, last year’s “The Maze Runner,” in every way: in its cast, scope, set pieces and (unfortunately) length. But “more” also means more convoluted.

The feature filmmaking debut from writer/director/co-editor Lauren Hadaway is an intimate and powerful sensory experience all around, but it’s the sound editing—Hadaway’s first calling, having worked with the likes of Quentin Tarantino, Zack Snyder, and Damien Chazelle—that grabs you off the top and envelops you throughout.

Sam Elliott is Sam Elliott as Sam Elliott in The Hero, a sentimental and sporadically effective celebration of the veteran character actor.

Hamnet actually works best as a sensory experience, before its major plot points fall into place.

One of the most impressive elements of Kubo and the Two Strings — besides its dazzling stop-motion animation, its powerful performances and its transporting score — is the amount of credit it gives its audience, particularly its younger viewers.

Qhile this particular story takes place nearly a decade ago, it remains unfortunately timely as Russia’s horrific war in Ukraine rages on; Klondike helps put a specific, vivid face on a faraway conflict.

A musical about the aftermath of 9/11 may sound like an eat-your-vegetables chore, but Come From Away is as comforting—and as layered—as a plate of poutine.

Mustang grabs you with its own sense of haunting melancholy, as well as an increasing feeling of urgency and outrage.

Simply as a technical spectacle, Taylor Swift: The Eras Tour is a dazzling achievement, capturing the sensation of seeing the pop goddess’ sold-out concerts in all their enormity and intimacy.

This a super-Sorkiny Aaron Sorkin script — full of the kind of well-timed zingers and clever turns of phrase that never occur to us in real life.

Intimate and impressionistic but ultimately a little self-indulgent.