Peter Travers

Bad Words, starring Jason Bateman in a tour de force of comic wickedness, takes sinful pleasure in rubbing our noses in the toxic joys of revenge.

Just when you think there's nothing original or exciting left to mine from a coming-of-age story, along comes the totally irresistible Lady Bird – a reminder that no genre is played out when there's a new artist around to see it with fresh eyes.

The result, glitches and all, is a great American movie.

The Theory of Everything, referring to Hawking's dream of finding an equation to explain all existence, is riveting science, emotional provocation and one-of-a-kind love story all rolled into one triumphant film.

Just so we're straight, Ben Affleck doesn't merely direct Argo, he directs the hell out of it, nailing the quickening pace, the wayward humor, the nerve-frying suspense.

Here's the Iraq War movie for those who don't like Iraq War movies.

This bonbon spiked with malice is a triumph for Jaoui, who takes witty and wounding measure of the small betrayals that leave bruises on us all.

It's original, outrageous and murderous fun.

With the help of acting giants, Jenkins turns The Savages into a twisted, bittersweet pleasure.

One thing's for sure about this raw provocation from the Coens: Like the music, the pain runs deep and true. You'll laugh till it hurts.

In this haunting portrait of America as no country for old men or young, Hillcoat -- through the artistry of Mortensen and Smit-McPhee -- carries the fire of our shared humanity and lets it burn bright and true.

No grabs you hard, no mercy, and keeps you riveted.

The film doesn't take sides, but it does fairly, subtly and movingly represent them. Captain Fantastic takes a piece out of you.

Only Yesterday comes from a quieter, less demonstrative place. As he did in his most recent and reportedly final film, "The Tale of the Princess Kaguya," Takahata has built Only Yesterday to go gently and to last. Mission accomplished.

The result, with its flashing perspectives and stealthy wit, is unique and unforgettable.

My advice, in the face of such hallucinatory brilliance, is that you hang on.

Beat the drums for a Simmons Oscar, and add a cymbal crash for Whiplash. It's electrifying.

A knockout of a comedy that keeps you laughing constantly. It's also killer smart, lacing combustible action with explosive gags.

Mike Nichols' haunting, hypnotic Closer vibrates with eroticism, bruising laughs and dynamite performances from four attractive actors doing decidedly unattractive things.

Besides being a feast for the eyes and ears, Les Misérables overflows with humor, heartbreak, rousing action and ravishing romance. Damn the imperfections, it's perfectly marvelous.

It's one for the time capsule.

Take a swig of this moonshine. There's magic in it.

Getting creeped out has never seemed this totally cool.

Von Trier draws us inexorably into the web of these characters. He loses us in a dream of his own devising. That's filmmaking. Now if he'd only learn to shut up at press conferences.

Fierce, funny and moving, The Class graduates with honors. It's unmissable.

An indelibly funny and touching comedy with a real sting in its tail. The laughs leave scars.

A dazzling, darkly funny, quietly devastating human drama from the Islamic Republic of Iran.

In ninety-three tight, terrifically exciting minutes, Clooney makes integrity look mighty sexy.