Rex Reed

Handsomely mounted, skillfully acted, exquisitely photographed and genuinely touching, Testament of Youth is one of those rare film experiences that is just about perfect.

Directed with polish and restraint by Ritesh Batra, this is a gripping film that seizes your focus and never lets go. If this one fails to move you, then you don’t really care much about the power of movies.

One of the classiest intellectual thrillers in ages.

Set in the upper-class echelons of Paris and written, acted and filmed entirely in French, the title Coup de Chance translates as “stroke of luck,” and that’s exactly what it is, restoring the masterful filmmaker to his deserved position as one of the screen’s most profound storytellers.

The result is a movie of enormous intelligence.

An upscale, high-concept $40 million futuristic epic by the visionary South Korean director Bong Joon-ho. It’s too gruesome to recommend to everyone without reservation, but if you love movies, you can’t afford to miss it.

A tale of trauma and survival, Where Hands Touch is grim, compelling stuff, but the tireless humanism of the two leading characters makes it undeniably moving, aided by the careful and empathetic guidance of British writer-director Amma Asante (Belle, A United Kingdom).

It is without question the best dog movie since "Lassie Come Home."

With enough terror to satisfy modern audiences and enough underplayed plot movement to save it from conventional biopic trajectory, Harriet holds interest and invites respect. It is still not the great Civil War epic it could have been, but it’s solid enough to work, and Cynthia Erivo’s valiant and committed performance is a wonderful achievement.

From Germany, the deeply disturbing domestic tragedy Three Peaks is another film of understated but driving intensity starring Alexander Fehling, a.k.a. the Paul Newman of German cinema.

Mr. Hanks, in yet another in a long line of diverse character studies, does a beautiful job as the voice of reason and logic, trying to inspire bravery and maintain order amid the noise and panic. In the big emotional scenes, as well as the small, nerve-jangling scenes, he is an artist at the top of his skill.

It is humane, beautifully shot in 65 mm and glorious black and white, full of keen observations, intimate details and nuanced performances. I was hypnotized and drawn in by the skill and heart of everyone involved.

Charming, insightful and funny, The Meddler takes familiar material (the mother from Hell and the daughter from Hunger) and infuses it with affectionate, slap-your-thigh humor. It also crowns Susan Sarandon with one of her most endearingly irresistible roles in years.

In another in a long line of memorable, effective and inspired performances that resonate with truth, Anthony Hopkins is a magnificent centerpiece.

A movie that borders on genius—repellant, dark, terrifying, disgusting, brilliant and unforgettable.

Deadfall is an above-average genre piece with a terrific cast that builds to a bloody Thanksgiving dinner shoot-out I found pretty close to unforgettable.

For the most part, this is a film with a pulse that wastes no time—a highly invigorating crowd pleaser that does nothing momentous but packs a big entertainment wallop doing it.

Some people might blindly and inaccurately accuse this movie of attacking family values, but it has exactly the opposite effect. Touching and funny in their upheaval, the people in The Kids Are All Right open the door to a brand new examination of family values that leaves you charged and cheering.

Together, they redefine rapture.

Don’t miss Tom at the Farm, the latest controversy in the oeuvre of acclaimed French-Canadian actor-writer-director Xavier Dolan, who has been labeled the “enfant terrible of queer cinema.”

I tend to forget how marvelous Ellen Barkin can be until she gets the rare chance to pull out all the stops in a movie like this.

Sensitively acted, carefully written and directed with heartfelt compassion, Bringing Up Bobby is an engrossing little independent film made on an austere budget in 22 days.

Bryan Cranston brings the complex personality of Trumbo to life with substance and humor.

It's a film that deserves to be seen, savored, debated and given serious attention.

The kids make stunning debuts, but their accents are thicker than porridge, rendering a good 90 percent of the dialogue so unintelligible that it might as well be in Swahili. Some subtitles are provided out of necessity, but not enough.

This film transcends its trendy, obvious limitations with enough vitality and vitriol to make it as informative and breathless as it is entertaining.

Intentional or not, this alleged thriller is more of a comedy, and maybe I’m just jaded, but to me, there isn’t a genuine thrill in sight.

Like "Moneyball," this is real movie making that packs a solid entertainment punch.