Peter Rainer

Despite its length, it is one of the most consistently engrossing and powerful movies ever made.

So few unexploitative movies are made about young black men, especially young black gay men, that the overpraise for this frail, sweet, discursive fantasia is understandable – and forgivable. It’s a beautiful film around the edges.

In tone, Pan's Labyrinth resembles a cross between "Alice in Wonderland" and H.P. Lovecraft, with some Buñuel thrown in for good measure. It is a tribute to - as well as a prime example of - the disturbing power of imagination.

You've seen the rest; now see the best.

The New Wave of Romanian cinema is the most exciting in the world right now. 4 Months, 3 Weeks, and 2 Days is its latest masterpiece.

As evocative and soulful as I found parts of this movie, I experienced these stylistics as more evasion than immersion. Cuarón is so careful to avoid overdramatizing the narrative that his steady-state underplaying ends up seeming equally coercive. But this is not how we are supposed to react to “Roma.” We are supposed to regard it as “real life.”

The most deeply and mysteriously satisfying animated feature to come along in ages.

A lyrical, yet intensely rooted, tragic vision.

This time capsule of a movie is timeless.

Godard brought to the screen the jagged, intuitive temperament of youth in a way that nobody else had ever done before.

I wish the truly searing moments in this film were not continually counterbalanced by an overall historical-reenactment stiffness in the presentation.

A movie about unremitting grief and yet it has a boisterousness, a comic twirl, that makes it much truer to the zigzags of life than most similarly themed movies that simply pile on the gloom.

What reveals Pontecorvo as an artist, and not simply a propagandist of genius, is the sorrow he tries to stifle but that comes flooding through anyway--the sense that ALL sides in this conflict have lost their souls, and that all men are carrion.

As was also true of Pixar's last movie, "Cars," Ratatouille is better at pleasing the eye than the other senses.

I almost wish Cuarón had cast nonactors, or unknown actors, in the lead roles. It’s jarring having movie stars work up their Hollywood histrionics against such a glorious backdrop. None of these arguments should dissuade you from seeing Gravity, if only because what’s good about it is so much better than what’s bad. Visually, if not imaginatively, it sends you soaring.

The problem is, the geek in question, at least as Jesse Eisenberg plays him, doesn't have the emotional expansiveness to fill out a movie. Perhaps sensing this, the filmmakers play out the story line from multiple points of view and crowd the stage with a pageant of voluble supporting characters.

Alternately discursive, philosophical, agitprop, and accusatory, the film itself is a species of essay.

Because of its subject matter, and because of the actors, it's impossible to watch this film without being moved. But a martinet is running the show.

Renner gives a full-bore performance of great individuality and industriousness, but essentially his character is as glamorized as any classic Westerner.

A Separation is not the work of a constrained artist. It's a great movie in which the full range of human interaction seems to play itself out before our eyes.

The story line for WALL-E is probably too convoluted for small kids, and sometimes it suffers from techie overload, but it's more heartfelt than anything on the screens these days featuring humans.

Before Midnight is the fullest and richest and saddest of the three movies in the trilogy. Make it a quartet, I say.

Dunkirk, with its scaled-to-be-a-masterpiece visual grandiosity, aims to be an epic of the spirit, but there is something weirdly underpowered about it. It’s a series of riveting tableaux, but the human center is lacking.

If 45 Days is a tragedy, it’s a tragedy without a summation. Despite the ineffably moving speech Geoff delivers to the assemblage at the anniversary party, perhaps the finest piece of acting in Courtenay’s long career, it is not at all clear where these people are headed, or what shoals await.

It’s a painfully uneven movie, but its best moments are ravishingly good.

Following the shows from rehearsals to Tony Awards night, she gets behind the scenes and does a good job conveying the incessant anxieties and glee of the talents involved.

There’s real verve in the animation and wit in the byplay.

Sweetest, funniest, most humane movie I've seen all year.

Past Lives, the graceful debut feature from the Korean Canadian playwright Celine Song, stands a world apart from most of today’s slick movie fare.

It is quite likely the greatest Shakespearean film ever and, except for Citizen Kane and The Magnificent Ambersons, it’s also Welles’s greatest film – which is saying something.

Jackson is rare among the makers of epic movies in that he knows how to do the small stuff, too. The Return of the King has “heart”--how else could it pump out all that blood?

The sensuous atmosphere often preempts the drama. Neither Elio nor (especially) Oliver are quite rich enough as characters to outshine their surroundings, and, although it’s rare to see a movie of this sort that is so markedly nonjudgmental, the lack of sharp conflict doesn’t make for a terribly invigorating experience.

The fact that neither Stone nor Gosling are tip-top song-and-dance artists is, in some ways, integral to their appeal. If they were Ginger Rogers and Fred Astaire, we might not feel as much of a kinship with them.

Frisky and oddball in ways that are sometimes annoying and more often ingratiating.

High among the film’s many standout virtues is how fully Kapadia has captured the faces of this trio.

Kore-eda’s slow reveal of who these people are, and what they mean to each other, has its mystery story aspects, but this is essentially a character study, or at least it tries to be, and not a puzzle picture. He fills in each of the main players leisurely, in snatches.

It’s all fitfully sharp and amusing but hardly a masterpiece.

In top form, Joel and Ethan Coen offer up feel-bad experiences that, like fine blues medleys, make you feel good (although with an acidulous aftertaste). Inside Llewyn Davis is one of their best. So many movies are emblazoned with happy faces; this one wears its sadness, and its snarl, proudly.

Sprawling yet cramped, There Will Be Blood may not be the best movie of the year, but it's certainly the strangest. It evokes passing comparisons to everything from "Giant" to "Citizen Kane" but it's impossible to pigeonhole.

This extraordinary film, which, despite its tragic trappings, is often surprisingly playful, can be appreciated without knowing anything about Panahi or his long-term battles with the authoritarian regime.

It plays out all the usual tropes of the investigative-journalism genre – the hot tips, the clandestine meetings, the hand-wringing about ethics, etc. – without adding a jot of novelty.

In a film that overwhelmingly avoids happy-faced pronouncements, this one sticks out.

Wherever you were schooled, in public schools or private, in the slums or in the suburbs, you will recognize yourself in this film and laugh and beam and cower.

The movie is true to its own fierce vision and it's the better for it. I haven't seen a stronger or better American movie all year.

An astonishingly fine movie about the vagaries and frolics of childhood as seen largely through the eyes of its pint-sized protagonists.

Sissako, a Muslim, frames his story as a cry against religious intolerance. One of the characters, speaking of jihadism, says, “Where is piety? Where is God in all this?” It is the central question of this movie – and of much more now than this movie.

It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.

Smashing for much of the way; as a piece of fantasy moviemaking, franchise-style, it beats the bejesus out of "Harry Potter."

Yes, we can draw links between then and now, but, in a way, Glazer’s film contradicts his own public sentiments. His depiction of this agonized world is so enveloping and unrelenting that, at least for me, it stands wholly alone, untethered to our current traumas.

Leviathan is, in the widest sense, a horror film.

At its best, the film compares favorably to its obvious antecedents, "Rififi" (which Melville once hoped to direct) and "The Asphalt Jungle."

Toy Story 3, has more emotional power than either of its predecessors. Come to think of it, it also has more emotional power than most of the live-action movies out there.

Oppenheimer may have thought that by giving these murderers center stage they would expose their bestiality for all to see (except themselves). But what comes across instead is something far more insidious: a showcase for depravity.

It builds slowly, and, at almost 2-1/2 hours, it occasionally drags. But it’s worth the time. This is a very knowing movie about the ultimate unknowability of people.

The film’s moral issues don’t come across as tacked on. They arise organically and register as both intensely personal to the filmmaker and much larger in scope. The film even offers up, against all odds – and a truly chilling final moment – a measure of hope.

This is a movie of high innocence, set at a time in life when romantic love is still a frolic and the seaside is a balm that quells all ills.

At times it's plodding and inchoate, but there's certainly nothing else like it in the movies right now, and it has at least one great sequence.

Coppola both wrote and directed, and there’s a pleasing shapelessness to her scenes. She accomplishes the difficult feat of showing people being bored out of their skulls in such a way that we are never bored watching them.

Of course, on some level, no movie about this subject can fail to move us, and Son of Saul has its share of powerful sequences. I wanted it to be great, though, with a largeness of vision to match the awful immensity of its subject.

The wistfulness in this movie is large-souled. Theodore may worry that his love for Samantha makes him a freak, but Amy knows that “anybody who loves is a freak.” All this may sound touchy-feely in the worst way, but Jonze is trying to get at how we seek romantic connection in this brave (or not so brave) new world. Like Theodore, he risks looking foolish.

The most joyously cinematic movie I've seen this year. Chomet's astonishing imagination conjures images you could swear you've seen in your dreams.

Ultimately “Ex Libris” demonstrates that libraries are about people, and what gives the film its great and accumulating force is that people are infinitely complex.

Star Wars: The Last Jedi is the eighth movie in the series and one of the better ones. I’d rank it behind “The Empire Strikes Back” (still by far the best) and the first film, but it’s about on par with the enjoyable last episode, “Star Wars: The Force Awakens,” which also awakened the long-moribund franchise.

The Canadian actress and director Sarah Polley set out to make a straightforward documentary about her mother, Diane, who died when she was 11, but by the time Stories We Tell was finished five years later, it had become unclassifiable.

What comes through so powerfully in this movie is a portrait of an entire generation making its way from death throes to new beginnings.

Waltz With Bashir is a supremely courageous act, not only as a piece of filmmaking, but much more so as a moral testament.

Baker is a humanist – there is nothing exploitative about what he does here. He’s after deeper emotional truths.

To call it “immersive” is an understatement.

The pessimism pervading this film is summed up by Shalom, who says, speaking of the decades of occupation: "The future is very dark."

A movie like Ben-Hur, while almost never stirring or imaginative in the way that the true epics of Griffith or Gance or Kurosawa are, nevertheless has a basic appeal.

The action sequences, at least as feats of engineering, are mightily impressive. But Miller is so caught up in all his hardcore allegorical hoo-ha that he never lightens up. Does he think maybe he’s Homer?

Granik filmed in actual locations and enlisted many locals as actors. They blend unobtrusively with the professionals in the cast.

Helen Mirren gives the mostly subtly expressive performance based on a living historical figure that I've ever seen.

This is the second documentary he has made about tragic jazz artists who died young – the first was “My Name Is Albert Ayler” – and he clearly has an abiding fascination with them. But what draws him most of all is the music, and that’s as it should be.

A startling achievement, but its lack of psychological dimension prevents it from making much human contact with us. It ends where it begins: in a state of shock.

The most visceral and cumulatively powerful account of civil war since Gillo Pontecorvo's "The Battle of Algiers."

Often remarkable and often exasperating.

It would be a mistake to regard American Splendor as an anthem for the common man. It is the UNCOMMON that is being celebrated here.

The eroticism is all in the fittings of fabric and the power plays of a couple who make Mr. and Mrs. de Winters in “Rebecca” seem like Ward and June Cleaver from “Leave It to Beaver.”

A love affair between performer and filmmaker. The director shows off his ardor by eliciting from his actors aspects of their gifts that they themselves may not have known they had.

The openness of these people is often astonishing – and a sign of hope.

In Panahi's case, he is insuperably handicapped by his current constraints. And yet, despite everything, here is This Is Not a Film, which is emphatically a film – and an extraordinary one.

It has what the most heartfelt Disney animated features used to have: rapturous imagery matched with real wit.

The film is an indictment of a cultural tragedy; a testament to the steadfastness, against all odds, of the Indigenous community; and a plea for healing.

What grounds the overflow of incident are the many human touches that personalize both the anguish and the stray glimpses of freedom.

Perhaps inevitably, it falls short of its ambitions. But it’s bracing to see a studio movie these days, particularly one with such huge scope, that at least attempts to serve up more than recycled goods.

What struck home the most forcefully for me in Cold War is its depiction, insidious and unrelenting, of how artists under communism suffered for their art. At its best, the film is like a bulletin from a benighted world.

The film drags a bit and Irglova's inexperience as an actor sometimes leaves her costars in the lurch. But it's a sweet little film just the same.

The extraordinary tact and compassion with which Victor dramatizes Agnes’s assault and its aftermath allows us to see this story for what it truly is – a diary of personal reclamation.

Driver’s low-key charisma in the role rescues it from terminal dullness, and there are a few fine sidelights.

What United 93 demonstrates, as if we needed proof, is that it is too soon - it may always be too soon - to sort out the feelings from that day.

The film suffers from late-stage Scorsese-itis – wacky, low-slung, high-octane melodrama with lots of yelling and overacting.

The film's final seven-minute shot is one of the great denouements in film history.

For most of Eternal Sunshine, I found myself fighting off Gondry's hyperactive intrusions in order to get at the melancholia at its core. Fortunately, the idea behind this movie is so richly suggestive that it carries you past Gondry's image clutter.

Jesse Moss’s documentary The Overnighters is being hailed as a modern-day “Grapes of Wrath,” which, up to a point, it is. But it’s far more complicated than that.

The director is fortunate to have cast actors who fully embody their roles. Muehe, who once played Josef Mengele in Costa-Gavras's "Amen," has the ability to let you see far beneath his masklike countenance. Koch, dashing and intense, is entirely believable as a man of the theater; Gedeck exudes a sensuousness that this covert society cannot abide.

In a series of deft vignettes, the Dardennes offer up a microcosm of an entire working-class contingent, and each vignette is a universe all to itself.

An honorable try, the movie nevertheless doesn’t fully capture the enormity of the tragedy. At best it’s a sorrowful, necessary dirge. Other times, it’s like “Goodfellas” on the range but, understandably, without the spring-coiled momentum of that film.