Peter Travers

A sharply observant and witty film that plumbs unexpected depths of feeling.

The performances are uncommonly fine...Lone Star isn't built to ride trends. It's built to last.

Timothee Chalamet ping pongs to greatness in Josh Safdie’s whooshing wonder of a film about winning at all costs. And in case you’re wondering: This is the wildest damn thing Chalamet has ever put on screen.

Amid the clamor from outraged purists and Shakespeare spinning in his Stratford-on-Avon, England, grave, you should notice that Luhrmann and his two bright angels have shaken up a 400-year-old play without losing its touching, poetic innocence.

Brother's Keeper has the texture, emotion and raw urgency of a Woody Guthrie anthem -- it keeps coming back to haunt you.

13th, available in theaters and on Netflix, is one for the cinema time capsule, a record of shame so powerful that it just might change things. Godspeed.

Savor their technique and the sizzling performances of Frances McDormand as an adulterous wife, Dan Hedaya as her vengeful husband and M. Emmet Walsh as a private detective from hell.

Unique and unforgettable.

Fellowship is the real deal, a movie epic that pops your eyes out, piles on thrills and fun, and yet stays intimately attuned to character.

The film leaps off the screen with a thrilling immediacy.

Up is a breathtaking ride into the realm of pure imagination.

You'll thrill to the action, savor the tasty dialogue and laugh like bloody hell.

Keep your eyes on Garfield - he's shatteringly good, the soul of a film that might otherwise be without one. The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further. Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade.

Paradis sizzles in a star-making role that gleams like one of Gabor's blades. She's a spellbinder.

Rea and Davidson are incomparably good in an exceptional film that is by turns darkly funny and deeply affecting. Though Jordan's control sometimes falters, it's a small price to pay for his daring.

Far from being exploitive, the effect is inspiring: This is the best of us.

Exciting and then some, Face/Off blends the director's supercharged images of balletic brutality and spiritual catharsis with an off-the-wall humor that allows John Travolta and Nicolas Cage to really let it rip.

In the year's richest, most complex and ultimately most heartbreaking film, Inarritu invites us to get past the babble of modern civilization and start listening to each other.

What can I tell you? It works. Private Parts is a comic firecracker with a surprising human touch.

It's a swooning new classic and one of the very best films of the year.

Bo Burnham’s story about a 14-year-old misfit is one of the funniest, saddest and most heartfelt teen movies ever.

With Apocalypse Now Redux — one for the ages when it comes to the moral battles of war — Coppola has reached the finish line at last. It smells like victory.

What makes La La Land such a hot miracle is how the passion for cinema and its possibilities radiates from every frame.

With it's dynamite performances, strafing wit and dramatic provocation, The Insider offers Mann at his best -- blood up, unsanitized and unbowed.

If a thing of beauty is a joy forever, as John Keats famously said, then the surpassing loveliness and bracing brilliance of Alfonso Cuarón’s Roma will never pass into nothingness.

Christopher Nolan deserves every superlative for his brilliant take on J. Robert Oppenheimer (a flawless Cillian Murphy), the dark knight of the atomic age. This terrifying, transfixing three-hour epic emerges as a monumental achievement on the march into screen history.

A rapturous masterwork.

You know how some costume epics can be such a bloody bore? Not The Favourite. It’s a bawdy, brilliant triumph, directed by Greek auteur Yorgos Lanthimos with all the artistic reach and renegade deviltry he brought to Dogtooth (2009), The Lobster (2015) and The Killing of a Sacred Deer (2017).