James Berardinelli

Talk about taking things to a new level… Theaters showing Fury Road should have seat belts installed.

Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.

Weapons is a step up for writer/director Zach Cregger from his promising horror debut, Barbarian – funnier, more unsettling, and ultimately more satisfying when taken as a whole.

Brothers is arguably the most successful remake of a foreign film since Martin Scorsese reworked "Infernal Affairs" into "The Departed" and won the Oscar.

Tootsie works for three reasons: a sharp screenplay, good comic timing, and delightful performances.

Despite regurgitating elements from the founding trilogy, Jason Bourne represents the best the series has yet offered.

It's an unforgettable portrait of human anguish and the price that any society must pay when its best intentions go awry.

The movie is not realistic, but the strong element of fantasy doesn't limit its ability to captivate and intrigue. That's because the characters and their relationship rise to the top and arrest our attention from beginning to end.

Woody Allen is rarely a big commercial draw, and whether his off-screen antics will boost his box-office take remains to be seen, but Manhattan Murder Mystery may be his most accessible film since Hannah and Her Sisters. This movie is still pure Allen, but the humor is broad-based, and the "quirkiness" often associated with the director is kept to a minimum. Frankly, it's been years since I've enjoyed the director's work this much.

Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

It's a dark, dark comedy that ruthlessly skewers the news industry on a stake, then roasts it alive.

Has enough genuine laughs to eliminate the potential twitters and snickers, and it treats Edward and Lee as people. We end up caring about what happens to these two individuals, even as we smile and laugh at their antics.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

The cast is remarkable. Five of the seven principal cast members own previous Oscar nominations.

What a horror film SHOULD be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact.

A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.

As with most slow-burn neo-noir movies, Sweet Virginia thrives on atmosphere. It oozes it from every frame.

Captain Phillips works precisely because Hanks isn't a muscle-bound, gun-toting figure (nor does he turn into one during the course of the movie). Placed in an untenable position, he uses guile and intelligence instead of brawn and weapons to enhance his survival chances.

More substantive than the average thriller/road movie.

A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.

It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]

The production values, like the acting, are of the highest standard and the movie stands up well even by 21st century standards.

The sophomore feature effort from director Destin Cretton (remaking and expanding upon his 2008 short), this movie avoids the numerous landmines awaiting someone venturing into this territory and, as a result, emerges triumphant.

The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.

As much a tale of the patriarchal suffocation of those who break from outdated conventions as it is a love story, the film gains much of its traction as a result of the performance of Kate Winslet, whose nonverbal acting represents one of the finest portrayals of her career.

Milk feels like an important picture, but not in a way that makes it tedious to watch. There's no pretentious sheen to the proceedings.

By mixing slapstick humor, outright silliness, and a psychedelic edge, Doff trades tension for laughs. He also has a political point to make about class divisions and the haves-and-have-nots.

Without becoming doctrinaire or espousing a particular religious ideology, Soul offers insight into the concept of death and the potential of an afterlife. It does this while maintaining a light tone and avoiding many of the obvious pitfalls that could accompany addressing such subject matter.

This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.

Those in search of escapism should not look to this motion picture, but anyone willing to assume the risk of facing the ugliness of Johnny's world will find a startling, gut-wrenching, eye-opening experience.

The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.

Leave No Trace is one of the most moving motion pictures thus far of 2018 and it achieves its power without resorting to the overt manipulation favored by many movies.

Lambert’s three-dimensionality elevates Wind River above the norms of the traditional crime movie so that, in addition to delivering the expected tropes, it provides a richer, more fulfilling experience.

In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.

An affecting and endearing collaboration between Miyazaki and Kondo, it weds a coming-of-age story with a flight of fancy to good effect. Although often overshadowed by more popular titles in the Studio Ghibli catalog, this is as deserving as any 1990s Japanese animated film to be seen and enjoyed.

Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.

Taken on its own, Saving Mr. Banks is a pleasant, crowd-pleasing endeavor. For those with a soft spot for Mary Poppins, however, it's a treasure.

Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.

The hiccups resulting from the back-and-forth switches between two disconnected stories are no more than a minor irritant when one considers the wider scope. In making this film, Clooney has accomplished something rare and unusual in today’s cinema – an epic science fiction motion picture that focuses on characters and ideas.

De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

Nothing can take away from the strength of Gable and Colbert's performances, the illusion of romance in their interaction, and Capra's deftness in crafting this kind of feel-good narrative. The screwball comedy elements work as effectively as the love story, which is a rarity for romantic comedies.

This is a feel-good tale through-and-through yet, because of the aesthetic and setting, it doesn’t feel cloying and artificial. And, perhaps most importantly, it earns the modest ending.

As rich in emotional impact as in style, this motion picture sets a high standard that we as viewers can only hope the other two chapters of the trilogy will match.

Ma Rainey’s Black Bottom is a small film with big ideas, bigger speeches, and two towering performances.

Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.

At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.

The most visually inventive comic book adaptation to make its way to a movie screen.

The movie has a magnetic quality that’s all the more welcome because of all the weighty issues forming its foundation. It’s a tremendous debut effort for Hall, whose work seems more like that of a seasoned veteran than a first-timer.

Despite some minor issues in presenting and pursuing the time travel episodes, My Old Ass rarely missteps and that will likely earn it a place on my end-of-the-year Top 10.

From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.

This is a hard, challenging motion picture. It demands much from the audience, and repays that investment with powerful, engrossing drama that does not offer insulting, facile answers. House of Sand and Fog is gripping and unforgettable, one of the best movies of 2003.

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

When I say that Parker is a master manipulator, that’s meant as a compliment of the highest order. He gets us into this story and puts us unequivocally behind Nat.

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

The resulting script offers the seriousness one anticipates from McQueen and the switchbacks and turns one expects from Flynn.

Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.

The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.

Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

Gives life and meaning to an event that is little more than a footnote in history books (if that).

Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

From Russia with Love is among the most tightly-plotted of all the Bond films, and, as a result, is one of the shortest. It moves briskly, blending intrigue, romance, and action into an immensely satisfying whole.

It employs the power of tragedy to enrich.

The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.

Revealed in unforgettable fashion by a capable director, the events that unfold in this film are not easily forgotten.

Cusack invests such sincerity in his portrayal of Lloyd that it's impossible not to root for him to get the girl. He's the classic underdog that we all think of ourselves as -- earnest, engaging, and impossible to resist because of his flaws, rather than in spite of them.

Oleanna probes deeply into some of the darker facets of human interaction, and anything with this keen an edge will cause discomfort. Three out of four "characteristic" movie-goers are likely to view this as a bad movie (too slow, too pedantic, too stilted). Oleanna, however, is no more intended for that crowd than are they for it. This film has been made for those willing to look beneath the surface to see a taut, intellectual sparring match where there is no absolute truth. For such an audience, this picture will leave an indelible imprint.

The best animated feature (at least thus far) of 2016.

The pressure on filmmakers to equal or exceed the impact of a beloved original is intense. In a case like this, when the reputation of a movie has built over decades, expectations are elevated to an almost impossible level. With Blade Runner 2049, Denis Villeneuve has met those expectations by crafting a film that rivets the attention, excites the imagination, and engages the mind.

One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.

At a time when many comic book franchises are seeking to go bigger, with cosmic beings and multiverses, The Batman’s down-to-earth approach offers a welcome reprieve.

The Conjuring 2 proves that, with a sufficient investment of time and energy, sequels don’t have to be unsatisfying cash-grabs.

I won't argue that Inside Out is as profound or all-around engaging as "Toy Story 3," but the films succeed in many of the same ways.

For what we get, Dune: Part One is a great ride.

This is science fiction for sophisticated audiences and, as such, a fulfilling and satisfying experience.

Destined to be counted among 2025’s best, One Battle After Another is proof that September isn’t always the cinematic wasteland it’s often made out to be.

Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.

The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral, ephemeral excitement, and not much else. However, while Gattaca has the energy and tautness to compare with the best of those, its thought-provoking script and thematic richness elevate it to the next level.

It's a superior thriller made with the guts and gusto that too many recycled entries into the genre fail to exhibit.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

It’s challenging but neither inaccessible nor impossibly dense. Kore-eda invites intellectual engagement but doesn’t leave the viewer unrewarded. This is one of the year’s best movies – the third time in the last decade I have made that statement about one of the director’s productions.

All Quiet on the Western Front is the definitive World War I motion picture, the best of a surprisingly small class of movies.

The film contains some of Nolan’s most ambitious action sequences to-date but one wonders whether the plot density – a not inconsiderable obstacle for some who prefer not to devote their undivided attention for 2 ½ hours – might prove to be problematic.

Dreamgirls is good and at times it touches greatness.

Ricci's performance is brave and effective - the most provocative in a career that has rejected Hollywood norms.

Z is disquieting not only because the events actually happened, but because we sense they could happen again, closer to home.

This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.

Emotionally challenging and honest.

Taken as a whole, this is compulsive viewing and offers plenty of material for post-viewing discussions.

Glass Onion is a late year present from a director who rarely disappoints.

The real wreckage in Locke is to the main character's old life, and the manner in which it is depicted makes this one of the year's most intriguing motion pictures.

The characters are at the heart of A Simple Plan, and the gruesome complexity of their interaction elevates this film to the level of a midwinter treat.

The movie stands out as one of the year’s most memorable experiences.

With respect to Martin Guerre, Sommersby can genuinely be viewed as an homage -- the spirit of the original remains intact, which is perhaps the most satisfying aspect of this production.

This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

T2 features bigger, bolder, more energetic action sequences than its predecessor.

It's a thinking person's thriller, where pyrotechnics give way to plot, character development supplants fight scenes, and adrenaline does not short-circuit intelligence.

Beloved is for those who want substance from a movie, and don't mind facing uncomfortable truths in the process.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

Although there is a political element to this movie, however, it works on a primal level – that of a person struggling to find not only a path forward but some kind of meaning in an act that lacks reason, compassion, or sense.

An engaging and powerful motion picture, every bit the equal of Merchant Ivory's best work, and certainly the most emotionally-wrenching tale they have brought to the screen.

Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.

Despite being broadly classified as a “monster movie” and featuring sequences that are as wildly bizarre as any Monty Python skit, Okja has serious messages about consumerism, ecology, and food production.

It’s probably strange to call a movie about illness and death a “feel good experience,” but Wang has pitched the film perfectly in this regard.

Screenwriter Aaron Sorkin and director Danny Boyle aren’t interested in offering another re-enactment of the truth-is-stranger-than-fiction story. They have something more ambitious in mind. Their goal is to illustrate the tyranny of genius and how a “great mind” doesn’t always mean a “great person.”

As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.

It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.

Although The Trial of the Chicago 7 has a serious message, it finds room for moments of (dark) comedy and (gallows) humor.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

That Sayles is able to say these things in the context of a compelling story with well-defined characters makes this one of the early fall triumphs of 2004.

These are two fascinating characters, and watching them thrust and parry proves to be as impossible to turn away from as observing a grotesque roadside accident.

The Outrun avoids pretentiousness and the emotional stakes are so high that it doesn’t threaten to become boring.

The action is genuinely exciting and, perhaps most importantly, the concept of “Artificial Intelligence” is given more than lip service. It is addressed in an intelligent, penetrating fashion rather than being thrown in as a plot point.

This is a slice of life with an imperfect beginning and conclusion, but what transpires between those two endpoints is strong enough to leave an impression on anyone with the patience to commit to a movie of such unhurried temperament.

Despite never previously having made a feature film, Stolevski’s sure-handed approach delivers a winner. He takes chances, doesn’t underestimate his audience, and tells a story worth telling.

Isn't just an expose of the porn industry -- it's a provocative and involving character study, as well.

It works effectively as a period piece and, because of Roeg's atypical style, it retains a freshness and grittiness that allows it to work for a new generation of film-goers in much the same way it worked for those who experienced it four decades ago.

A wonderful motion picture, even given the weaknesses of the source material.

O'Connor gives the film a dark, moody look, which is the best choice for so many roiling emotions. This is not a traditional stand-up-and-cheer fight movie; the undercurrents are too strong and deep.

American Splendor is deserving of accolades, not only because it tells an interesting story about a fascinating man, but because it does so with such freedom and freshness. I wish more of the comic book-inspired movies were like this.

Two and one- half hours of gripping entertainment.

The lack of family friendliness does not diminish what del Toro has achieved with this magical motion picture.

Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.

Although Big is generally lighthearted, it rarely plays for stupid laughs. There are a few of these, but the film avoids sacrificing character integrity for the cheap guffaw.

Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.

The movie teaches lessons without preaching, and focuses on the magic of relationships rather than that of special effects. This leads to a production as affecting for adults as for children.

It's refreshing to encounter a movie with a logical, intelligent approach to the dangers of zipping through time.

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.

It's rare for a feature film to attain the trifecta of entertaining, informing, and educating.

The film is so exuberant that we don't care whether we're listening to Lou Reed's off-the-cuff comments about New York, watching Mel Gorham do a sexy dance in front of a mirror, or hearing Jim Jarmusch's ramblings on the romance of the smoking culture.

Movie-going isn’t a civics assignment but Till is a sufficiently powerful motion picture that it offers more than a history lesson.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

The emotions roiling beneath the surface of this seemingly placid drama make watching it an intense and involving experience.

A mixture of documentary and thriller, this is a compelling two-hour production.

A rousing tale that combines high adventure with emotional effectiveness. This movie works because it never loses sight of the characters no matter how epic the scope becomes.

The problem with End of Watch, a gripping police drama, is director David Ayer's stylistic decision to shoot nearly the entire movie tripod-less. Or, to put it another way, there's a whole lotta shakin' going on.

In true Sorkin style, the movie is all about the nonstop dialogue, which pours out at a mile-a-minute but, as a result of the way the words flow (not to mention the skill with which they are delivered), they function as momentum builders rather than verbal diarrhea.

Atonement is effective at getting under the skin, and some audience members won't like that.

This isn’t a “big picture” movie in that doesn’t seek to answer questions that are beyond its limited scope but, within the parameters established by Kennedy and his writers, it leaves few stones unturned.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.

More than any other comic book character outside of Nolan’s Batman, Wolverine has evolved. With his glimpse into what superhero movies can be, James Mangold has given us something sadly lacking in recent genre entries: hope.

By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.

The latest offering from Edward Zwick, the director of "Glory," is the kind of movie that doesn't require much effort to surrender to and enjoy.

Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.

This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.

Anyone who watches District 9 and doesn't think of Apartheid, Nazis, and Josef Mengele needs to spend some time reading a few history books.

Poor Things offers an opportunity for cinematic discovery. It’s brave, unconventional, and unique and easily one of the year’s best.

It's not comfortable but it is engrossing.

It's a rousing science fiction story that proves an on-screen adrenaline rush.

From a purely narrative perspective, there’s nothing new here but like a new arrangement of a familiar tune, the slight changes make it fresh and enjoyable.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.

Although many of the themes in An Autumn Afternoon are timeless, the film itself represents a snapshot of Japanese lifestyle in the 1960s.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

The Big Sick has the qualities that could make it a sleeper hit. It’s funny, touching, and perceptive.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

Cholodenko, whose previous features include the pretentious "High Art" and the sudsy "Laurel Canyon," pitches The Kids Are All Right at right level - there's enough light comedy to leaven the melodrama and keep it from becoming overbearing.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.

Hitchcock does a masterful job blending all of Vertigo's diverse elements together. It's a love story, a mystery, and a thriller all rolled into one. It deals with issues of obsession, psychological and physical paralysis, and the tenuous nature of romantic love. Vertigo should really be seen more than once to be fully appreciated. Many of the darker, deeper aspects only begin to bubble to the surface on subsequent viewings. [Restored version]

The other actress to stand out is, unsurprisingly, Queen Latifa, whose intense screen presence makes her a force to be reckoned with even when she's simply standing in the background, not saying anything.

Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact.

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

The film surprises with its narrative twists and turns, making the overall trajectory unexpected and the endpoint different from anything one might have expected at the beginning.

Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-one…This movie is both grimly funny and thought-provoking.

No Sudden Move represents [Soderbergh's] best post-“retirement” effort and this is a real treasure for those with an affinity for ensemble crime movies.

Damon's prior appearances as Jason Bourne make him credible in this role.

While having a female director perhaps gives Wonder Woman a subtly different perspective, the real strengths of this production are its lead actors, the period piece setting, and an unexpected emotional resonance that one doesn’t expect from a popcorn movie.

Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)

De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.

This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.

This is truly a movie that children and their parents can both enjoy for different reasons.

Downfall and Bruno Ganz are deserving of Oscars they will not get.

A warm and loving Valentine to the San Fernando Valley of the 1970s, it never allows nostalgia to overwhelm narrative, although there’s plenty of the former to go around.

It’s exceptional escapist entertainment for those who don’t mind a little spice sprinkled into their cozy mystery.

Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.

Despite being slow and deliberate, it is often compelling and occasionally riveting. As "The Lives of Others" was in 2007, this is the first memorable movie of 2008.

The exceptionally strong cast showcases American, British, and Australian actresses, all of whom show an astonishing willingness to appear in physically unflattering circumstances (no makeup, hair and skin caked with drying mud).

With Hammett's dialogue incorporated virtually verbatim into the screenplay, Bogart in top form, and Huston allowed total directorial freedom, watching this first of the films noir is an experience to be embraced.

Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.

Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.

This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.

The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.

By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.

Although the picture has not aged as well as some of its contemporaries, its themes remain germane, the story has lost none of its punch, and the performances retain their freshness.

Back to the Future is played neither entirely seriously nor entirely for laughs, and therein lies the nature of its success. It's funny and breezy but doesn't descend to a level where the characters are little more than props for jokes.

A delightfully loopy comedy about the hijinks that occur when families collide.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

It’s a seamless continuation of the stories and relationships introduced in Zootopia, moving things forward without making any radical changes to the underlying formula—and that consistency may be exactly what audiences want from a return trip to this animated menagerie.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

A fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic.

While the legal stuff provides the film’s crowd-pleasing element, some of the foundational building blocks give The Last Vermeer a little heft, elevating it to a level where one is almost tempted to call it a quasi-art house production.

Moana is an entertaining and worthy way to close Disney’s 2016 animated roster.

The movie isn’t quite as unhinged as the trailer indicates but it’s far enough off the beaten path to provide enjoyment for those who enjoy their blood & guts served with a twist.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

As animated films go, this is easily the best of a weak year.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

By avoiding the temptation to rail against religion and instead offer an introspective and respectful look at it, Novitiate becomes that rare thing: a movie willing to show the flaws of Catholicism without dwelling on its negatives.

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

Here’s a rare example of a Netflix prestige film that neither runs too long nor overstays its welcome. While some of the A-list directors working for the streaming distributor have taken the opportunity to meander and add bloat to otherwise worthwhile projects, Ron Howard has developed this project exactly as he would have made it if it had been intended for a traditional release.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.

Green Book avoids sanctimoniousness in presenting this heartfelt, if sometimes familiar, story of mismatched strangers who learn to overlook boundaries of race, sexual orientation, and class as circumstances force them to rely on one another.

The result is a grim, startling motion picture.

Girls Town does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

Darkly effective, and its grip lasts longer than we might be entirely comfortable with.

Bright, colorful, and exhilarating.

The result is an effective portrait of a damaged individual uncertain about the meaning of love and commitment and the two key relationships in his life that teach him lessons about both.

The movie succeeds because screenwriter Howard Himelstein keeps Wilde's best lines intact and the actors speak the words with practiced confidence.

[The film] occasionally had me convulsed with laughter.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

This is a film of powerful ideas, impressive set design, and compelling performances.

A tender movie about a poignant and difficult subject.

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.

A feel-good movie that offers enough comedy and romance to warm the heart without risking a sentimental overdose.

The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.

Historical fudges aside, Hidden Figures provides an example of determination and talent triumphing over an unfair and repressive system.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.

A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.

The three leads provide convincing performances, with Dakota Fanning being the standout.

The movie’s failings come during its final act when contrivances and an adherence to big budget conventions transform Passengers into a less compelling experience than what it starts out as.

The movie eventually achieves a level of powerful drama…but only after dithering for more than an hour.

The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.

The strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy.

The Vanished Element provides an opportunity for those who enjoy the conceits and stylistic approach of neo-noir thrillers but are looking for something less entrenched in the standard narrative structure.

Easy A may not be a great movie, but it is a knowing and enjoyable one.

Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.

The effectiveness of the film’s overall aesthetic cannot be understated: what F1 lacks in narrative development it more than compensates for with its thrill-ride aspects. Watching the film, you may not believe you’re in a racing car but you will feel like you’re doing more than passively sitting in a theater seat.

What Brown Sugar lacks in originality, it makes up for in charm.

Using parody as its means, Fear of a Black Hat has a lot to say about the exploitation that surrounds the rap music business. This movie is not tightly-scripted or elegantly produced, but it is (for the most part) highly entertaining. For those who have been waiting for a sequel to Spinal Tap, this may be the best alternative.

The sequel often plays like pro-Biden campaign propaganda. This film isn’t going to be warmly embraced by many Republicans. Sacha Baron Cohen doesn’t simply skewer them; he spit-roasts them over a roaring fire.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

he movie is funny enough to get its share of laughs but, in its angry heart, it’s a tragedy - and the saddest part is that too much of this story is true.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

As counter-programming to the early summer season's blockbusters, this delivers better than a lot of the more expensive titles against which it is competing. It serves as a potent reminder that a well-crafted atmosphere and a singular, focused vision can be far more terrifying than a hundred million dollars' worth of digital effects.

I suspect City of Angels is going to remind many viewers of “Ghost,” but there's a big difference: this film is more true and less manipulative.

Valkyrie, despite being a more straightforward thriller, is less gripping than "Downfall," the most recent film in which Hitler had significant screen time.

Doctor Sleep is more straightforward and narratively clean than "The Shining." Although too long by at least 20 minutes, it is more accessible and doesn’t overly penalize those who haven’t seen (or don’t remember) the original movie.

At its best, this movie is searing. It pinpoints many of the little talked-about aspects of divorce that seem the least significant but hurt the most. It also eviscerates the practice of Family Law without apology.

The ending is weak, and may be the result of the filmmakers writing themselves into a corner and not wanting to conclude things in a burst of nihilistic excess. Yet, even though it's a cheat, it retains a degree of resonance.

Those who are familiar with Bourdain from No Reservations or Parts Unknown will appreciate the opportunity to peer through the different facets of Neville’s prism. Those who don’t know Bourdain from Emeril Lagasse may not find Roadrunner as compelling but are likely to enjoy the warts-and-all approach employed by Neville in examining Bourdain’s life.

Iron Man 3 has the stuff to please the devotees and divert everyone else, which is pretty much what's expected from the curtain-raiser of any summer season.

For those with a taste for outrageousness and an appetite for horror, there's no juicier meal than the Evil Dead movies.

Even had it possessed a less intelligent script, After Life would have been intriguing on the basis of its central conceit alone. However, with Kore-eda's skillful hand behind both the camera and the pen, the result is a rewarding cinematic experience.

At long last, someone has crafted a worthwhile superhero spoof.

At times darkly funny and at other times depressingly tragic. It's safe to say there aren't any movies out there quite like this one.

While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.

A shamelessly uplifting motion picture that attains its feel-good status by forging a deep emotional connection between the undertrodden protagonist and the audience.

Not great fantasy, but it's on more solid ground than "The Golden Compass" and will seem less baffling to some. There's enough here to keep adults engaged, which is an important component of any motion picture that wants to be known as "family entertainment."

Coriolanus deserves to be seen, however, especially among those who enjoy Shakespeare without considering themselves purists. It's violent, bloody, fast-paced, and powerfully acted. And, if the language represents a barrier of sorts, it's worth remembering that some of the greatest phrases in history derive from Shakespeare's texts.

It might be fair to argue that Shephard overreaches with Not Okay, but there’s something bracing and fresh about throwing caution to the wind the way she does. The movie doesn’t have the bland, cookie-cutter feel of so many of the other productions that comment on the evils of the Internet.

Although not as openly crowd-pleasing as Cooper’s A Star Is Born remake, there are enough interesting touches in the film – both in its aesthetic and some of the individual scenes – to demonstrate Cooper’s evolution as a filmmaker.