Roger Moore

A chilling detective tale, a horrific sexual abuse drama and an overlong, emotional, tie-up-every-loose-end melodrama that is sure to be half an hour shorter when Hollywood remakes it without the Swedish dialogue and probably without the cool Swedish edge.

Michael B. Jordan (“Red Tails”) is never less than riveting as Oscar, and he has to be.

For all the resilience Baldwin and Jenkins show us here, it is the poet Langston Hughes’ line about “a dream deferred” that comes most easily to mind.

What a fascinating, layered character Return to Seoul is built around.

Doueiri has brilliantly and simply put a compassionate human face on a part of the world where ethnicity still trumps education, class and achievement, where even the successful face, at best, second-class citizenship in their own country.

Rodeo is so good it’s almost sure to inspire a Hollywood remake. Catch it in the original French grit, because while we know Zazie Beetz can ride, who knows if they’ll meet her quote?

Mission: Impossible — Fallout, is everything a summer action pic should be — a delirious procession of stunning stunts, epic brawls, state-of-the-art car chases and ticking clock countdowns.

It's an unblinking look into the lives of soldiers doing the most thankless job of all.

Almost every shot is a postcard-perfect African vista, and every animal shown in majestic close-up.

A most deserving Oscar winner and a film that could provoke discussion anywhere it is shown, anywhere people of any age are being bullied.

Long Promised Road, taking its title from a lesser-known tune by the band, is a celebration of the glorious third act of a performer whose struggles became legend, whose victimhood became notorious and whose “genius” no longer requires quotation marks.

Colman’s performance is the film’s marvel. But Gyllenhaal’s brilliant, subtle manipulations make hers one of the most auspicious directing debuts in years, a veteran, intimidating cinematic “bad girl” who turns her withering gaze on us and strings us along, wondering what became of The Lost Daughter.

The charms of The Wild Robot sneak up on you.

This delightful and inspiring drama succeeds the way Hawking has, even as he fails to deliver that “one theory” that explains “everything.” It’s reaching beyond your grasp, in life, in science and in film biographies, that achieves greatness.

Cedar has given Gere his own “House of Cards” to move into, where the game analogies spin out as chess and, most tellingly, dominoes. Norman needs them to fall just so, and if they do, he will be a man to be reckoned with.

There have been a lot of documentaries about Donald Trump and Donald Trump’s America, and more will show up between now and election day 2020. But the only one on that subject that strikes me as “essential viewing” is Red, White & Wasted, an eye-opening peek into the psyche, intellect, folkways and values of “the Trump base” we hear so much about these days.

Adam makes you realize we’re a long way from “Chasing Amy.” Or maybe not.

[Renner] and Sheridan and some terrific, under-used supporting players...give Wind River a somber, grim grace and the relentless forward motion of a thriller.

Moore makes this solo moment touching, bittersweet and triumphant.

As Chukwu keeps her camera on Mamie, she turns a blow against racism into a history lesson with human faces — good, poisonous, and so mutilated that we have to be forced to see it to understand our culture’s ugliest truth.

In this Golden Age of biographical musical documentaries, the filmmaker who is now working on an Ed Sullivan doc has taken a subject we thought we knew all we needed to know about, and all but re-introduced him to a new age. Well done

Polsky takes us on quite the sleigh ride, from the sunny silliness of gambling on Russian hockey, and then marketing it, to the grim reality that sets in — threats, intimidation and even murders.

I found the entire enterprise a touching, rough-hewn delight, never sparing us the explicit sex and violence of Daniel’s life “before,” moist-eyed in seeing how his “outside the collar” thinking is a tonic for a tortured town that needs to move on.

We Are Little Zombies is the most entertaining thing to come out of Japan since sushi, “Iron Chef” and the Miata.

The rawboned Hawkes manages both charm and menace in the same look, and Dancy gives his character a testy, fearful edge that doesn't make him scary, but rather someone we fear for.

A true indie film roller-coaster ride, from moon-eyed romance to aching heartbreak, cerebral puzzle to incredibly moving, emotional resolution to that puzzle. In a season of the year where sci-fi is dumbed down and then dumbed some more for mass consumption, here’s a piece of speculative fiction that will stick with you long after the last Transformer’s battery has died.

This solo ordeal won’t be to every taste, but All Is Lost is a grand vehicle for the actor and for that viewer ready to consider his or her own mortality, the problems, conflicts, strengths and shortcomings you’re sure you leave behind when you just sail away.

“The Vote” was on PBS’s “American Experience,” the gloriously acrid “Mrs. America” on Hulu and the sweet Helen Reddy biopic “I Am Woman” came to theaters and streaming. The Glorias rides the crest of that wave, the best project of the lot, and quite possibly the film of the year.