Marc Mohan

Telling Northrup’s story, McQueen gives a grand tour of the institutionalized sadism and astonishing inhumanity ubiquitous in the slave economy.

Gravity isn’t as ambitious as “2001,” but then, what is? It is, however, absolutely a worthy successor, a masterpiece of hard science fiction, and the movie to beat at this point for next year’s cinematography and visual effects Oscars.

While what's on screen is unsparing and clinically presented, the underlying, almost invisible humanity and artistry of the film inspire rather than depress.

Viewers looking for a propagandistic take will be disappointed, but even those who doubt the overall framework and existence of the so-called War on Terror should appreciate this thrilling tale of the hunt for the world's most wanted man.

Inside Out expands the possibilities of animation. It's also a hilarious ride that delights the eye, the mind and the heart.

As flawless as any film this year and rock-solid confirmation that Joel and Ethan Coen are the greatest filmmakers working in America (and perhaps anywhere else) today.

It's not a political film, but it's also not a bland recitation of homilies about the honor of serving one's country. It's a jokey road movie, in which three soldiers heading home from Iraq are forced into a cross-country van ride together.

Sissako, whose previous film, 2006's "Bamako," also tackled political issues with aplomb and complexity, doesn't need to craft an overwrought denunciation of ignorant fanaticism. The humanism with which he approaches both the perpetrators and the victims of the violence inherent in this petty, small-minded tyranny makes the strongest argument possible against the Boko Harams of the world.

The Act of Killing is exemplary as a history lesson, a character study and a powerful argument for confronting the past.

Despite the fact that its pace turns somnolent at times, and some of its themes feel somewhat clichéd nearly a half-century on, this revival offers a fantastic entry-point opportunity to one of cinema's singular figures.

As the relationship between Theodore and Samantha evolves, it hews too closely to the expected arc of a romantic drama. In a desire to show how such a pairing could produce the same joys, sorrows, jealousies and insecurities as a human-to-human one, the movie edges close to parody, which it doesn't want to be.

When a film like Stories We Tell comes along, you're reminded how powerful and universal even the most intimate and individual lives can be when captured with intelligence and perspective.

What's most endearing about "Taxi," as well as Panahi's earlier films made under repression, is the lack of righteous anger.

Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.

For a film that consists largely of a series of talking-head interviews, The Gatekeepers is a riveting a documentary.

With a level-gazed approach to its milieu, empathetic but clear-eyed, Winter's Bone practically makes up for 40 years of "Deliverance"-style hillbilly cartoons.

An unrelenting and important exposé of a system that, as depicted here, has no place in the modern world.

Exarchopoulos and Seydoux give their characters dimension and spark. Kechiche touches on issues of not only gender, age and sexuality, but also socioeconomic class. And if the movie doesn't quite seem to know when to end, it's because the director can't bear to say goodbye to these fascinating, fully-formed characters.

There’s plenty of fun to be had, but in the long term, American Hustle may be remembered more for its superficial pleasures than the depth of its impact. Kind of like the 1970s.

Because Whiplash is two characters in search of a plot, it ramps up the happenstance and improbability as it stumbles toward a final showdown between teacher and student that would be emotionally satisfying if it had the ring of truth.

It's hard to say what's more fascinating: The engaging explication of various paintings by the remarkably articulate docents, the behind-the-scenes looks at the preservation and restoration processes, or the boardroom discussions about the appropriateness of marketing efforts. Actually, that third one probably isn't the most fascinating, but I still wanted more of it.

Takes on the air of a heist film as the preparations proceed, and even knowing the outcome, tension still remains.

The octogenarian pianist Seymour Bernstein is the charming, inspirational subject of this appreciative, occasionally fawning documentary.

At over two hours, it might test the patience of some younger viewers (and some impatient older ones as well), but for anyone willing to take the time, it's an utter treat.

The first to take a big-picture view of just how the plans for postwar occupation went so far off track.

German director Christian Petzold's new movie is a testament to the way textured performances and a skillfully woven script can entice a remarkable suspension of disbelief.

The acting is flawless, the world feels utterly real, and the finale accomplishes the miracle of finding in the everyday world something profound.

Although the primary plot line turns out to be a letdown, there are aspects of The Machinist that redeem it. Bale's performance is one; another is the dull, metallic look of the picture.