James Berardinelli

The Big Sleep remains one of Hollywood's most intriguing and enduring examples of film noir. It's a movie that every film student should study and every movie lover should watch at least once.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.

La La Land isn’t just the best made-for-the-screen musical to reach theaters in a very long time, it’s arguably the best (non-animated) cinematic musical of any kind since 1986’s delightful "Little Shop of Horrors." Yes, it’s more vibrant than "Chicago," more heartfelt than "Les Miserables," and more successfully staged than a chorus of other contenders.

High Society doesn't just have a voice -- it has a heart and a soul as well.

Imperfect as it may be, Bowling for Columbine is riveting stuff.

It’s not cinematic fast food. If you want superficial entertainment, Manchester by the Sea will disappoint. This is for those who crave a deeper experience.

This is epic filmmaking and a reminder that the kinds of antisocial, amoral characters who have long represented Scorsese’s bread-and-butter don’t exist exclusively on the mean streets of modern-day America.

Of recent films, Christopher Nolan’s "Interstellar" is the best comparison. Ad Astra isn’t quite as strong but it’s in the same ballpark.

Although Barry Jenkins’ film is indeed about the struggles and difficulties of a person embracing his culturally reviled sexuality, the story is universal in scope and intent.

A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.

Although Dunkirk is technically a war film, its tone and style are those of a high-octane thriller. For his most serious-minded film to date, Christopher Nolan has employed all the weapons in his arsenal to craft something that, despite the Oscar-unfriendly July release date, will almost certainly be remembered when the Best Picture nominations are handed out.

Whatever else it may be, Irreversible is disturbingly unforgettable. It is impossible to have a blasé reaction to a film this visceral. Indifference is not an option.

Manages the task of being both heartbreaking and heart-warming.

Kinetic, atmospheric, visually stunning, and mind-bending.

When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

I suspect that mainstream audiences will find plenty of things to take pleasure in, even though some viewers may be bewildered by what the Coens do. But for those who share my taste in comedy, this is a must-not-miss.

This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.

Moonrise Kingdom is lovingly crafted with an attention to detail that is breathtaking while, at the same time, it displays genuine affection for its young protagonists.

Only a director in complete control can fashion something so effortlessly chaotic. What’s Up Doc? is one of the signature comedies of the 1970s whose throwback mixture of madcap hijinks and rat-a-tat-tat dialogue still works for a generation twice removed from its influences.

Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."

For a while, Limbo seems like it might be a slow-burning romance and tale of redemption, but, as is often the case, Sayles takes his audience in unexpected directions (unexpected because they defy comfortable, traditional narrative routes).

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

Watching Blue is the Warmest Color provides viewers with that rarest of motion picture opportunities: the ability to lose oneself in the life of another for three hours and to emerge having felt something.

Compared to Deadpool, "Guardians of the Galaxy" is a bastion of sobriety and good taste.

The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).

Cool Hand Luke is a metaphor for the social climate in which it germinated. Luke represents that segment of the population who will not submit, no matter how viciously they are beaten. They repeatedly rise up, convinced not only of the rightness of their actions, but that, in the end, they can make a difference. In the midst of the burgeoning '60s cultural revolution, it's impossible to ignore.

Nocturnal Animals employs one of the most inventive uses of neo noir tropes and techniques I have seen in recent years. Intense, insightful, and strangely powerful, Tom Ford’s adaptation of Austin Wright’s novel, Tony and Susan, assumes an intelligent audience.

Considering the strength of performances given by the 25-or-so teenage actors portraying the students, it's amazing that none of them have previous experience.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

With a smart, perceptive script from first-time director Kelly Fremon Craig and an arresting lead performance by Hailee Steinfeld, the film rises to the top of a crowded genre.

With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.

With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating.

The movie, like the book, takes a long, hard look at the system of racial inequality that defined this time and place, and reminds viewers of the price to be paid for surrendering to our base instincts.

North by Northwest is also surprisingly forthright when it comes to sexual matters. There aren't many euphemisms or double entendres in the interaction between Thornhill and Eve.

Despite being filmed far from where it is set, the authenticity of the situations and emotions is unmistakable.

The tale related here isn't all that original, but the honest presentation lends impact to a wrenching scenario.

Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

It Follows doesn't try to get viewers to jump out of their seats. Instead, employing the time-honored technique of the "slow build", it pressures fingernails to dig into arm rests.

With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

This is a fun motion picture on all levels, and, while it doesn't quite measure up to the standard established by Beauty, it's still one of the year's best bets for pure entertainment.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

All movies have a perspective. The one presented in The Hate U Give is measured but unmistakable. The film is incisive; its manipulation is covert and strategic, engendering feeling without seeming intrusive.

When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

Don’t be fooled by the PG-13 rating – A Quiet Place has an adult aesthetic and younger viewers may be unprepared for its unconventional style and unrelenting intensity.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.

With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.

Despite its various deficiencies and occasionally antiquated style, King Kong remains not only a milestone of movie-making, but a magical experience.

Nebraska is a rambling affair. It's about characters and dialogue. There's not much of a narrative to speak of - this is even more minimalist than "About Schmidt" or "Sideways."

As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.

It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting.

They Shall Not Grow Old isn’t just a compelling motion picture; it’s an important slice of cinema.

Stalag 17, despite often being labeled as one of Wilder's "lesser" films, is a bona fide classic, and an example of how an accomplished director can meld many elements into a workable whole.

Good, solid entertainment.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

The Northman is gripping cinema of the sort that we get too little of today, when too often a director’s vision is diluted by box office imperatives and the lure of four-quadrant appeal.

Cinematic magic.

Goldfinger is studded with moments that have since become deeply embedded in the Bond mythos. John Barry's opening song (sung by Shirley Bassey) is among the series' best. Snippets of dialogue have attained an almost-legendary status, such as the exchange when Goldfinger is about to emasculate 007 with a laser. "Do you expect me to talk?" asks Bond. The response is succinct: "No, Mr. Bond, I expect you to die!"

The Wings of the Dove is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

Whether on stage or on film, The Crucible is a powerful, thought-provoking production. This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact. By re-interpreting this classic so effectively, Hytner has assured that at least one version of "The Crucible" will become a part of film history.

The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.

With its striking images, pervasive atmosphere, and incessant sense of dread, Nosferatu leaves an impression that proves hard to shake.

This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.

You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.

One of the reasons that Quiz Show is so extraordinary is because it spins a story as compelling on the personal level as on the national one.

Once Were Warriors works, to some degree, on three levels: the visceral, the emotional, and the intellectual, and it is the amalgamation of these that makes this a memorable film.

Not since "The Crying Game" has Jordan crafted as compelling a motion picture.

Using gallows humor, likable protagonists, and a variety of nonstandard filmmaking techniques (like having characters address the audience directly), McKay maintains a high level of energy for more than two hours and dares us to become bored.

This is the closest Marvel has come to making a stand-alone tale in many years. Even Doctor Strange felt more connected to the larger MCU.

This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

Tells a good, intelligent story that keeps us interested and involved.

Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.

This is a vital, original, and emotionally potent chapter to one of the longest-running movie series out there. It will easily be one of the summer of 2017’s best films and, at the end of the year, it will likely find a space on many respectable Top 10 lists.

Coogler provides enough rousing moments to get the adrenaline pumping - there are times when the urge to jump up and cheer is almost too strong to resist. But there's more to Creed and it is elevated by the quiet, subtle elements.

One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.

It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

The best film of The Hobbit's three, this final installment is closer in quality to "The Lord of the Rings" than to its immediate predecessors.

Lucas manages to be touching, sad, thoughtful, funny, and joyous - it's a nearly-perfect portrait of the incredible highs and lows that accompany the high school journey of a square peg who doesn't fit into a round hole.

In the end, however, the genius behind all the innovations of Bletchley was destroyed by the pettiness of a society that didn't understand him. The Imitation Game doesn't hide this dark aspect and it makes the production sobering and engrossing.

Tar isn’t based on a true story but it possesses an emotional and intellectual honesty that makes it seem more real than countless made-for-mass-consumption biopics.

Consistently hits the right notes, earning both the tears and smiles that result.

The Father is an excellent movie but it’s not a lot of fun to watch, especially for those with first-hand experience in this area.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

Eye in the Sky reminded me of "United 93" - not necessarily in terms of the subject matter but because of the apolitical, clear-headed manner in which it approaches an act.

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.

Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

It features a great performance by Domingo but, in some ways the less showy contributions of the former real-life inmates represent the best Sing Sing has to offer. The movie is touching and uplifting in often unexpected ways.

The beating heart of Never Rarely Sometimes Always isn’t Autumn’s struggle with terminating her pregnancy; it’s the way the two girls discover companionship and the strength it offers.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.

Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”

Isn't just fine family entertainment, it's superior family entertainment.

This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

The film is notable for continuing to expand the corporation’s reach into different cultures while displaying a welcome maturation of animation beyond the conventional American standard into something that, although no less family-friendly, is thought-provoking and stimulating.

While much of the archival footage presented in The Last Days is new, the substance is familiar. These are the kinds of images that no Holocaust film can ignore, because they drive home the horror of what transpired five decades ago, half a world away.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.

The compelling reason to see it in a multiplex, however, isn’t so much the advantage of a larger screen as it is the absence of commercial breaks. The full impact of the movie relies on the gradual building of momentum and any kind of interruption could break the spell.

If there's anything disgusting or grotesque that The Cook, the Thief, His Wife, and Her Lover doesn't dabble in, I'm at a loss to figure out what it is. This film, a wildly exuberant, bitingly satirical examination of excess, bad taste, and great acting, is the kind of over-the-top experience that will have timid movie-goers running (not just walking) for the exits. Taboos? If director Peter Greenaway has any, you can't tell by this film.

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.

This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.

It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

The result is a sharp, insightful, charming motion picture.

Watching The Life of Chuck, I was inspired to remember how wonderful it can be to find a movie that offers the thrill of discovery and the comfort of real emotions. That’s such a rare combination these days and when a film unlocks the secret, it deserves to be seen and lauded for the accomplishment.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

Living offers restrained optimism leavened with enough cynicism to win over those who might be less enamored of something more artificial. It’s one of the year’s best films.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

A delightfully dark comedy that, despite a cynical bent, offers viewers a good time.

A compelling, thought-provoking, and unsettling drama.

One of the best thrillers I have seen this year: tight, taut, and unpredictable.

The richness of its tapestry, densely woven from human emotions and character interaction, ensure it will never lose that relevance.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

The move is a blast.

It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true.

With its carefully-modulated combination of light comedy and drama, the film casts a gentle spell.

Everything (not just the flesh) is vibrant with life.

Narratively, not a lot happens during the opening 60-70 minutes, but Cuaron is marinating us so that later events have an uncommonly strong impact.

The film contains some of the most exhilarating action sequences ever to reach the screen, a touching love story, and a nice subplot that has agent 007 crossing (and even threatening to resign from) Her Majesty's Secret Service. The problem is with Bond himself. Following Sean Connery's departure after You Only Live Twice, the film makers had to come up with a replacement. The man they chose, a model named George Lazenby, is boring, and his ineffectualness lowers the picture's quality.

Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.

Ultimately an uplifting movie because it is about triumph.

As always, the voice casting is perfect. Throw in a moral, and some nice touches of technical accuracy (that fish keepers will appreciate), and the movie represents the best family film to-date of 2003.

This is as good as spectacle moviemaking gets: old-fashioned in intention but fully modern in execution. It may not stand quite as high as its two predecessors, but the fall-off is neither extreme nor precipitous.

For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

This is unlike any other film I have seen... it's a great romance. It's willingness to flout conventions and eschew formulas is just one of many things to celebrate about this charmingly eccentric movie.

What the film does expertly is to weave together music, likable protagonists, thoroughly nasty villains, and a fun plot into a cohesive whole, with a result that is nothing short of magical.

The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.

The narrative is presented in a straightforward manner; Soderbergh doesn't employ any unusual chronologies. His style is frank, not quirky, and lends itself to a number of powerful images.

he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.

Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.

Fatoumata Coulibaly's peformance is striking. She plays her character with a mixture of determination and compassion.

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

Regardless of whether the future will bring another Miyazaki movie, The Boy and the Heron is a wonderful gift for everyone who expected The Wind Rises to be his swansong. It’s proof that, no matter how hard Disney, Pixar, Dreamworks, and others try, there’s only one animator who finds magic in every release.

It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.

Pride will get viewers cheering while reflecting upon how far we have come in 30 years… and how far we have yet to go.

Director Stephen Daldry has fashioned an emotionally powerful cinematic testimony about that horrific late summer day.

The darkness isn’t skin-deep; it permeates the material. Nightmare Alley may not be the feel-good film of 2021 but it leaves a lasting impression.

The edgy, claustrophobic approach to filmmaking is there, as is the importance of setting. There’s never a clear sense of where the movie is headed and, when it gets there, it arrives with a bang.

The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling.

It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.

Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.

One hell of a ride. For better or for worse, it will leave you stunned and reeling.

Gone Girl is a rare movie: a delicious thriller that provides plenty of titillation and gruesome pleasure while offering a dollop of social commentary. It's smart, twisted, bloody, and almost guaranteed to satisfy anyone with a penchant for the macabre.

Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.

Despite an occasional narrative hiccup, this is a rich and moving motion picture.

Project Hail Mary is more about the wonder of the unknown and the satisfaction of finding new friends.

Almodovar also manages to conclude the film on a hopeful note, and one that will have many audience members wishing that he will someday return to tell more about these characters.

The film’s occasional overreaches aren’t always a negative; the high points are very high and, when it’s all over, most viewers will remember them.

Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

It is a rich and challenging motion picture that both affirms life and emphasizes its fragility. Eastwood touches our hearts and energizes our minds without resorting to overt manipulation.

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

Ultimately, this is an engaging, uplifting, and life-affirming motion picture that reminds viewers that it is possible to do interesting things with a romantic comedy while still sticking to some of the conventions.

Menace II Society has a devastating impact. Few films possess the power to keep an audience sitting in stunned silence after the end credits begin rolling, but this is one of them.

What Selma does so well is to bring to life the events of 1965, especially "Bloody Sunday" (the first march). It's one thing to read about these moments in a history book but another altogether to see them on the screen. The movie is riveting.

The pervasive aura of creepiness more than compensates for the low body count and inventive use of sharp instrumentation.

The computer-generated effects are a marvel. It's something of a bonus that the characters, dialogue, and story provide entertainment value of their own.

Not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.

Revolutionary Road is a fine motion picture, but it's not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations.

When movies address fertility problems – something they rarely do in the first place – it’s usually with something less than the honesty on display in Private Life.

If there’s a knock on Eighth Grade, it’s that it feels too true-to-life to be entirely comfortable.

From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.

The kind of daring feature that doesn't open every Friday at the local multiplex; its frank, sometimes politically incorrect approach towards the act and politics of sex is refreshing.

With Deliver Us from Evil, Berg has been uncompromising in the picture she paints. She pulls no punches and makes no apologies.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

An engrossing examination of the elemental forces that define human nature.

A Monster Calls is a deeply moving drama that should find favor with viewers of all ages (except the very young). It’s a stunning work of artistry and emotional heft with an ending that speaks as loudly to children, parents, and grand-parents. It’s difficult to shake and impossible to forget.

It's audacious but also genuine. It's emotionally true and demands much from its audience not in terms of suspension of disbelief but of empathy with the main character.

Funny Games is not entertainment but it is an experience.

The Sea Inside is uplifting. This is a movie that may cause viewers to both laugh and cry.

Enjoy this movie for what it is - the kind of motion picture that can cause Champaign-like giddiness - and don't obsess over how true-to-life this work of fiction is.

Although arguably too long and arduous for theatrical viewing, it’s perfect for the more comfortable, relaxed confines of home viewing when the prospect of immersing oneself in a director’s creative vision for 3 ½ hours is less daunting. Whether seen on the big screen or a small one, The Irishman is among 2019’s best motion pictures and should receive its share of Oscar attention in 2020.

Arguably the most rewarding aspect of Persona is its rewatchability. The movie’s themes are so complex and deeply buried that it offers something new each time it is seen. Like a Rorschach test, one’s interpretation says more about the person offering the opinion than the film itself.

Super 8 is in many ways a perfect summer movie: smart, exciting, heartfelt, and suffused with nostalgia.

Arguably the best baseball movie ever made. The film works not because it is flawless in its depiction of what transpires on the diamond (more on a significant mistake later), but because it captures the spirit of the game at a time when baseball truly was the National Pastime.

The escapism on offer here isn’t of a light and airy nature but instead provides insight into the darker, obsessive aspects of the human experience.

This is not the first time Wright has shown his understanding for such things, nor is this the first occasion in which he has displayed a strong sense of comedic timing, but Scott Pilgrim vs. the World feels fresher and more inspired than his previous outings, and that makes it an excellent source of late-summer entertainment.

Watching 63 Up as a stand-alone endeavor may not seem remarkable. In fact, it may even be a little boring. But watching it as part of the larger picture imbues it with immediacy and power.

Truly a tale for our time.

No Escape is a throwback to an era when movies of this genre were defined by suspense and tension. Dowdle isn't interested in providing a safe harbor for those who want a comfortable way to spend two hours. His vision is edgy and exhausting and, for the most part, his execution breathes life into it, tossing a firecracker into the sleepy post-summer movie doldrums.

As embodied by Liam Neeson, Rob Roy is a tremendous protagonist -- a naive man whose belief in honor and whose love for a woman, family, and clan make him a figure to cheer for.

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.

An unconventional tale of redemption that earns its upbeat ending by not falling prey to every cliché of the genre or giving in to the temptation to become too maudlin or sentimental.

Jarhead is about how the experience of being in the military fundamentally changes an individual. In this case, the focus isn't about the madness of slaughter in the jungle, but the madness of inaction in the desert.

The Avengers kicks ass.

Gut-wrenching, brutal, and powerful, American Me is not enjoyable in the conventional sense, but nevertheless stands out as one of the year's most impressive purely dramatic offerings.

A thoroughly enjoyable piece of cinema that does credit to its director and cast.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

To reboot the X-Men franchise, director Bryan Singer, who first gave these characters screen life fourteen years ago, has crafted a continuity-lover's nightmare.

Lately, it seems that film noir has become the province of independent productions. As a result, it's refreshing to see a big-budget, studio effort of this sort that does nearly everything right.

Delivers solid drama with a rousing climax - a fully satisfying and uplifting period piece that achieves its dramatic potential without sacrificing historical accuracy.

Has as much depth as it has energy and action.

With its lack of car chases, fist fights, and over-the-top melodrama, the film has to rely on solid acting, an intelligent script, and capable directing.

The Spectacular Now's DNA contains elements of the John Hughes teen dramadies of the '80s. There's also a little Cameron Crowe - in fact, replace the soundtrack with something more dynamic and it might be easy to mistake this with a Crowe film.

Delivered with dashes of black comedy, thriller elements, and pathos, this film illustrates how even a seemingly decent, hard-working man can be driven to unthinkable lengths in pursuit of a job that's to die for… or, more appropriately, to kill for.

Gas Food Lodging deals with issues, but its strength lies in the characters that struggle at the heart of the story. Anders has made this film far from the glitz of Hollywood and the money that comes with the limelight. Hopefully, for her next project, she'll be able to maintain the gritty quality which makes her debut such a memorable effort.

In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfils the promise of its name and adds another title to a storied legacy.

Strange Days is a thriller first and a mystery second. It's big, explosive entertainment and, although not directed by Cameron, is very much in the vein we've come to expect from him. Strange Days may not be the best movie to hit screens during the Fall, but it's likely to be the brashest.

One of its most obvious strengths is that it can satisfy many different types of audiences -- those who demand something substantial from their motion pictures, and those who could care less.

Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.

It's those moments and others and the way they are tied together by Shepherd's tongue-in-cheek narration that cements A Christmas Story as one of those rare must-see holiday movies, even for those who don't celebrate Christmas.

Although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to grace the silver screen, it is also arguably the most overrated. Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece.

Wow. For those with strong constitutions, The Raid 2 offers one of the most intense motion picture experiences available; it may also be the most violent movie ever to be released into theaters.

Despite a seemingly straightforward slice-of-life storyline, The Florida Project achieves something rare and magical: presenting existence from the perspective of a young child while, at the same time, providing enough “clues” that viewers are able to decipher what’s really going on.

After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.

Taut, relentless, and uncompromising, A House of Dynamite’s greatest strength is its sense of plausibility.

Despite the occasional brutality of the material, Django Unchained includes some of the best laugh aloud scenes of any 2012 motion picture, regardless of the genre.

Mrs. Brown will delight and touch any viewer who seeks it out.

It's funny, affecting, and appealing, and more worthy than much of what's out there. Often, coming-of-age stories rely forcefully on formulaic narrative developments but The Way Way Back remains fresh from start to finish.

The basic storyline has been done to death over the years; this is still one of the most effective and successful applications of the formula.

McNamara has a reputation for being intelligent and belligerent. The Fog of War validates the former characteristic, but not necessarily the latter.

Balances character development with plot, and that's crucial to its success.

I wouldn't go so far as to classify Jacob's Ladder as a masterpiece, but it is smart and compelling and unquestionably worth a first or second look.

It gets under the skin and into the mind and does what good psychological horror does best: leaves the viewer unsettled and perhaps a little shaken even after the end credits roll and the lights turn back on.

A compelling contemporary thriller with the added benefit of also being an engrossing character study.

Fresh takes the setting and tone of Boyz 'N the Hood and Menace II Society and applies it to a thriller. Gone is the documentary-like quality of filmmaking as well as the gritty sense of immediacy. Fresh uses higher-quality film stock and a more traditional cinematographic style to distance the audience ever-so-slightly from the characters. This way, it's easier to appreciate the complexity of Michael's plan and the manner in which he arranges his masterful scheme of manipulation.

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

Still Alice is undoubtedly a tough movie; it contains life-affirming moments but its perspective is what makes it unique.

Origin offers the best of both worlds: a well-developed story with a three-dimensional lead character who grows over the course of the movie and an intellectually satisfying element folded into the screenplay.

The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.

The Lighthouse is a riveting but decidedly non-mainstream horror film. Even if the ending is imperfect, I’d love to see more movies like this.

Lincoln paints a powerful and compelling portrait of the man who has become an icon. We don't need to see more of his life to understand how rare a figure he was - this window is more than sufficient.

Viewed from a purely narrative perspective, Castle in the Sky is a fun, engaging two hours. Miyazaki knows how to keep things moving without belaboring certain scenes. He doesn’t speak down to his audience and isn’t afraid to mix in exposition with action.

Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.

Nobody's Fool is about as sublime a motion picture as is likely to come out of Hollywood. With a structure that contravenes the norm, this film concentrates on character first, letting the plot fall naturally into place. Situations are forced on neither the film's inhabitants nor on those in the audience.

One of the most uplifting and delightful films to have come along this year.

Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

Sunrise is often rightfully noted for its technical achievements but what is often overlooked is its emotional power.

Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.

Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.

Visually, it's more impressive than Disney's “Toy Story.”

The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.

It’s hard to come away from this film and not believe that, in his heart, writer/director del Toro is a romantic.

The Madness of King George is much more than a simple study of one man's descent into insanity. With a style that's more tongue-in-cheek than melodramatic, the film is always witty and occasionally satirical. The characterizations are flawless (as well as historically accurate), and the political wrangling of the Tories and Whigs (led by PM Pitt and Charles Fox, respectively) provide a deliciously complex backdrop.

Recognizing that many of the movie's elements are lifted from actual events elevates the importance of what the movie has to say.

Like Kore-eda’s previous masterpiece, "Like Father Like Son," the movie uses a domestic drama to illustrate larger and more compelling concerns about society in general.

As an elegy to a perfect fusion of directorial mastery and an actor’s indomitable screen presence, it’s hard to imagine something more memorable and affecting than Red Beard.

There's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made.