James Berardinelli

Blue Velvet is David Lynch in peak form, and represents (to date) his most accomplished motion picture. It is a work of fascinating scope and power that rivals any of the most subversive films to reach the screens during the '80s.

Takes a cold, unflinching look at the violence both inside and outside of the ring.

It is a triumph, and one of 1998's few "don't miss" motion pictures.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.

Because this film touches us so deeply, the catharsis has a power that few -- if any -- other moments in film history can match. And that's what establishes this as a transcendent motion picture experience.

Tokyo Story is as much a journey of discovery as it is an opportunity to reflect. The characters populating this film aren’t strangers. They are our parents, our children, ourselves.

No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but Farewell My Concubine does an excellent job presenting samples of the flavor while telling a story that is both epic and intimate.

Of all Chaplin's films (with the possible exception of Modern Times), City Lights offers the fullest characterization of the Tramp. He's a loner who comes and goes almost like a dream figure or a drunken angel. Without family, friends, or a place to live, he stands outside of our reality, sometimes trying to fit in and sometimes not caring whether or not he does. Yet, like a child, he is a complete innocent with a pure heart and the best motives.

One of the best-ever examples of film noir to come out of all of Europe. The Third Man has all the right ingredients: an engaging, twisty storyline (written by Graham Greene); one of the most diabolical and charismatic villains ever to grace the screen; crisp, innovative directing (by the underrated Carol Reed); a score (by Anton Karas) that it as unforgettable as it is unconventional; and cinematography (by Robert Krasker) that uses the black-and-white medium to its fullest. Not only is The Third Man a darling of the critics, but it has been embraced with glee by the general populace for more than five decades.

Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.

The Best Years of Our Lives runs almost three hours, but it doesn't seem nearly that long. The film is so involving that there's no temptation to glance at a watch, nor a need to get a snack or take a bathroom break. In fact, when it's over, there's almost a sense of disappointment that there aren't a few scenes left hiding on the other side of the closing credits. The feeling of warmth and satisfaction that accompanies the conclusion is the hallmark of a great drama - a distinction that anyone who has seen The Best Years of Our Lives will apply to this landmark production.

There is so much in this film that it cannot all be absorbed in one viewing. Nashville demands to be seen repeatedly, if only so that the movie-goer can recognize previously missed elements. This repeatability is one of the traits of a masterpiece, and, regardless of the criteria applied, Nashville surely must be considered as a modern classic – a motion picture whose scope and influence extend far beyond what is displayed on screen during its 160-minute running time.

Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.

Represents the director at his best -- unsentimental yet powerful, funny and poignant, and, in the end, undeniably satisfying.

Like all great craftsmen, Lucas has managed to fashion this material in a manner that not only honors the original sources, but makes it uniquely his own. Hacks rip off other movies; artists synthesize and pay homage to their inspirations.

Red, the final chapter of Krzysztof Kieslowski's Three Colors trilogy, is a subtle masterpiece. With its satisfying exploration of such complex and diverse themes as destiny and platonic love, Red is not only a self-contained motion picture, but a fitting conclusion to the series.

Few genres of films are as magical as musicals, and few musicals are as intelligent and lively as My Fair Lady. It's a classic not because a group of stuffy film experts have labeled it as such, but because it has been, and always will be, a pure joy to experience.

Close Encounters of the Third Kind is unquestionably a great movie.

Christopher Nolan has provided movie-goers with the best superhero movie to-date, outclassing previous titles both mediocre and excellent, and giving this franchise its "The Empire Strikes Back."

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

It casts a warm, relaxed spell that evokes feelings guaranteed to bolster sagging spirits.

Arguably the best motion picture ever made about the process of creation and the creator.

As the beginning of Part II echoes the opening of "The Godfather," so too does the end. Because of the manner in which circumstances are handled and considering the people involved, the impact here is more forceful. The tragic flaw has accomplished its poisonous, inevitable designs. Coppola punctuates both movies with a gut-twisting exclamation point.

Riveting from beginning to end, featuring stellar performances, amazing cinematography, and a story without a trace of fat, the film does everything an epic is supposed to do - and more.

This is a uniquely powerful motion picture, the kind of open and honest portrayal I can't ever recall having seen about a celebrity. Life Itself stands not only as a moving piece of documentary cinema but an epitaph.

The single greatest pleasure of watching this film is seeing great actors reciting Mamet's lines. It's rumored that members of the cast came to the set on days when they weren't scheduled to film so they could watch their fellow stars perform.

Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.

Too few motion pictures cause us to think and feel this deeply.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

Put simply, WALL-E is about as charming as movies get.

Eisenberg, one of those young actors who has existed just below the radar for several years now (he was the lead in both "Zombieland" and "Adventureland," not to be confused with one another), deserves an Oscar for this dead-on portrayal of a temperamental genius.

The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."

A gripping, powerful motion picture -- arguably the most forceful depiction of Jesus' death ever to be committed to film. It leaves an indelible imprint on the psyche; viewers of this movie may never look at a crucifix in quite the same way.

The presence of so many low-key performers gives A Serious Man a very different, distinctly non-Hollywood vibe. The absence of familiar faces allows the Coens to fully immerse their audience in the time (1967) and place (the U.S. Midwest) of the story.

Represents solid family entertainment, and will find a special place in the hearts of those who adore the "Godfather" movies and the TV series "The Sopranos."

Cyrus is affecting, but not in a clean, easily recognizable way. It is funny, but in a warped manner more likely to provoke unease than unbridled laughter.

The film is as powerful as any narrative motion picture in telling a story that rips at the emotions.

The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here.

It has great action sequences, more than a splash of legitimately-funny humor, solid performances from engaging actors, and a script that doesn't demand much mental exercise.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

The Wild Robot proves to be one of the best animated features to emerge from the American studios post-pandemic and even approaches Miyazki’s (alleged) swansong, The Boy and the Heron, in blending artistry with entertainment value.

This is a movie to be savored by those who are familiar with the work of Glenn Gould, and an opportunity for those who aren't to explore the essence of a rare musical genius. It's an eclectic film, and an astonishing portrait.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.

Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.

It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.

As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.

This movie is keen, clever, and -- most important of all -- a nonstop exercise in hilarity.

With Rebecca, he (Hitchcock) illustrates an aptitude for crafting not only psychological terror but drama and romance.

Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.

On the Waterfront may have baggage, but that doesn't prevent it from being one of the great American productions of the mid-20th century.

The Edge of Heaven is marked by a number of remarkable performances.

Nil by Mouth is as powerful as it is uncomfortable, and those in search of a pleasant movie-going experience would be best served looking elsewhere. However, for anyone who isn't bothered by the thought of experiencing a shock to the system, this film is not to be missed. It approaches a serious social issue in the best, most dramatically true manner.

The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.

Gifted with a surprisingly large budget (reportedly ~$70M), Bayona is able to effectively recreate not only the crash but the dangers faced by the survivors while seamlessly incorporating on-location footage with studio-based material. The remarkable accomplishment results in a breathtaking motion picture that enthralls across the length of its 140+ minute running time.

Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.

Sentimental Value offers a powerful story about fathers and daughters, roads not taken, the thirst for redemption, and the path toward reconciliation.

The film's look is impressive; it's the most successful rotoscoping effort to date (far surpassing Richard Linklater's duo of "Waking Life" and "A Scanner Darkly"), and causes every frame to drip atmosphere.

Room is honest and challenging but it’s more uplifting than one might expect from a film with such a horrific backstory.

In a year when no fewer than five films have dealt with themes of man vs. nature and survival (including The Martian, Everest, In the Heart of the Sea, and A Walk in the Woods), The Revenant is by far the most brutal, challenging, and astounding of these.

It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.

The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.

The rich texture of Hoop Dreams' drama is its greatest asset.

It is among the most powerful early arguments in favor of a minimalist approach to filmmaking and champions the effectiveness of the close-up when used properly. It's hard to imagine anyone today arguing its place in the pantheon of Silent Olympians.

Yes, Fences suffers somewhat from the bare-bones transferal of the “action” from stage to screen but the material is so compelling that viewers can easily lose sight of the movie’s “play nature.”

12 Years a Slave is by no means light entertainment but it provides a more worthwhile cinematic experience than about 90% of what's out there and the impressions it leaves aren't easily dismissed or dispelled.

This may sound depressing and, in a sense it is, but these things are part of life and Haneke conveys them with a simplicity that is heartbreaking.

Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.

The tone is perfect; this is one of those rare films that, despite being rooted firmly in the world around us, is utterly absorbing and capable of reducing the immediacies of life into abstract thoughts in the back of one's mind.

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

This is one of Levinson's best films, and the screenplay, co-penned by noted writer David Mamet (along with Hilary Henkin), is brilliantly on-target.

The material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.

Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.

Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.

It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.

The most important features of this "new" version are the digital cleaning of the print and the re-mastering of the sound. There are a few added scenes, but they are mostly insignificant and have been previously seen (at least by fans of the movie) on the laserdisc or DVD releases.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

Liking "Ex Machina" is no guarantee of liking Annihilation or vice versa. In terms of tone, Annihilation is a close cousin to "Arrival." There’s the same dark atmosphere and bleak sense of discovery.

The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.

Dune: Part Two is a spectacle to behold with an underlying arc that makes it more satisfying than a 2 1/2-hour bite of eye candy.

The movie not only represents the best effort from Eastwood since his Oscar-winning "Million Dollar Baby" but the finest acting we have seen thus far from two-time nominee Bradley Cooper.

It's likely that 2004 won't offer a better movie about a mid-life crisis.

Under a director with less vision and ambition, Heat could have been just another routine crime drama, but Mann brings such an edge to the proceedings that the threadbare story takes on a new urgency.

The kind of expression of emotion that touches a deeper chord.

A meditation on the pain suffered by a mother when her child turns out to be a monster, We Need to Talk about Kevin is the perfect tonic for holiday cheer.

Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.

A firecracker of a story - sharply written, superbly acted, and fast-paced.

With September 5, Fehlbaum has crafted one of 2024’s most unlikely thrillers. It’s also one of the best movies to reach screens in a year when genuine tension has been too often absent from films in which it should have been a key ingredient.

Local Hero is a fragment of cinematic whimsy - a genial dramatic comedy that defies both our expectations and those of the characters.

Sisu is one of those unheralded films that comes seemingly out of nowhere to grab the adventurous movie-goer by the throat. For a perfectly-pitched 90 minutes, it glories in the excesses of gore and violence with an exuberance rarely experienced this side of Quentin Tarantino.

Although not without moments of sadness and tragedy, Brooklyn is sublimely uplifting and life affirming.

Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, "The Sure Thing" and "Stand By Me."

Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.

For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.

With solid performances and a terrific screenplay, this movie offers solid, no-frills drama that feels organic and believable, not contrived.

Here’s hoping the movie finds its audience because it’s one of the freshest and most audacious films available in this year’s sparse cinematic landscape.

Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.