Peter Travers

You won't know what hit you after watching Tyson. This power punch to the gut is one of the best movies of any kind this year.

In Eastern Promises, shot to envelop by the great Peter Suschitzky, Cronenberg brings us face to face with the horror of self.

Lessin and Deal have made Trouble the Water a spellbinder you do not want to miss.

The power of this Holocaust tale sneaks up and floors you.

Palm Springs suggests that repetition can kill sex drives, marriages, and even the will to live. Yet it still leaves you laughing gratefully at the resilience of love.

Some movies are so good and true and tough-to-the-core they should just sneak up on you. James White is one of them.

Mitchell has his own twisted gift for letting atmosphere help define character. It Follows creeps you out big-time in that cool way that freezes the blood.

It feels lived it, honest and painfully funny.

This Sweeney is a bloody wonder, intimate and epic, horrific and heart-rending as it flies on the wings of Sondheim's most thunderously exciting score.

It's a powerhouse of claustrophobic suspense and fierce emotion, mostly because Tom Hardy, best known as Bane in "The Dark Knight Rises," is a blazing wonder as Locke.

Duvall is a blazing wonder in a film that ranks with the year's best.

Like the best filmmakers at Sundance 2001, Nolan leaps into the wild blue and dares us to leap with him. Go for it.

The good news is that Coogler puts his own stamp on it. You can feel this fine indie talent stretching his wings in the mainstream.

Romantic yearning hasn't looked this sexy onscreen in years.

It’s shameless fluff wrapped in a blanket of bland. You won’t believe a word of this romcom knockoff, but JLo and Owen Wilson work real hard to convince you that love is the answer.

A uniquely hypnotic and haunting love story sparked by Nicolas Cage and Elisabeth Shue at their career best.

O'Toole gives a staggering performance -- fearless, defiantly untamed and in its own way a work of art.

Pucci is an actor to watch: He rides this spellbinder without softening the truths that plague the thumbsucker in all of us.

For Swifties and newbies, here's the musical event of the movie year. And, yes, you can dance to it as the pop princess uses her all-time top-grossing concert film to show off her talent for artistic reinvention and storytelling in song. What's not to like?

In a mere 76 minutes, director Ira Sachs and his virtuoso actors, Ben Whishaw and Rebecca Hall, have captured a specific world in universal terms and made a film for the ages.

Clermont-Tonnerre comes from a place of defiance, and her fearless instincts surge through every frame. Each time you think you have this movie pegged, it’ll knock you for a loop.

Oooowee, this is one scorchingly sexy thriller. Powered by shining new star Glen Powell, who singes the screen with wowza costar Adria Arjona, this cheeky, somewhat true story from director Richard Linklater adds up to one of the best and most beguiling movies of the year.

Like the A.R. Rahman score that drives the movie, the triumphant 127 Hours pays fitting tribute to Aron by being thrillingly alive.

The movie brims over with action -- check out Alex's run through traffic on the Paris beltway -- but Canet scores a triumph by plumbing the violence of the mind.

The film is a striking cinematic tone poem.

Nothing and everything happen in the movie. Director James Ponsoldt (The Spectacular Now), working from a fluid script by playwright Donald Margulies, does justice to the book without compromising his film.

It's scarier than "The Amityville Horror," as scandalous as "Fahrenheit 9/11" and loaded with more conspiracies than "The Interpreter."

It's the no-bull performances that hold back the flood of banalities. Robbins and Freeman connect with the bruised souls of Andy and Red to create something undeniably powerful and moving.