Roger Moore

Oakley’s ability to find a hopeful spin to put on this bleak time is a history lesson for us all.

Koepp and Soderbergh make this as much about mistrust and fidelity in a marriage as it is about spies-gone-wrong. They keep their film intimate and interrogatory, giving it an old fashioned theatrical feel.

It’s a wholly original child’s-eye-view of emotions and growing up, a demanding movie for small children and a rewarding and touching one for their parents.

Lacy’s impressively thorough film forces anybody willing to watch it to reconsider her, measure her life’s work and legacy against that of her iconic father and appreciate the screen legend and cultural force she has been.

Moving, majestic and manly, Only the Brave is a nearly perfect rendition of the sort of righteous, heroic entertainment Hollywood routinely built around its best leading men.

What makes Say Anything timeless isn’t the cast so much as it is the characters, and isn’t the story as much as the way it is told. The dialogue, crisp and (relatively) clean by modern, coarse and cliched standards, is its own “grand romantic gesture,” teen angst, teen curiosity and the teen dilemma incarnate.

Alex Winter’s Zappa is perhaps the most thorough Zappa screen biography to come along, and that’s acknowledging how hopeless the job of making The Compleat Zappa bio-doc is.

Even though I couldn’t imagine the endurance contest of experiencing the show in person in real time, this documentary — which identifies via graphics the songs and their earlier-than-you-realized dates of composition — leaves you wanting more. As dazzling as this highlights sampler can be, one hopes more of it will be released in bite-sized servings.

Yes, it's pretty much a must to have seen the first film. Where Dragon Tattoo felt like fall, Played with Fire was shot in the Swedish summer, which suits the faster pace, ramped up violence and fresh collection of supporting players -- cops, a kickboxer, and a couple of borderline Bond villains.

Beast is hard to watch at times, from its graphic crime-scene photos to the pitiless way a rabbit is dispatched. But as cryptic as it aims to be, it’s not hard to follow.

Here's a documentary so slick, novel, touching and outrageous that your first thought might be "This has to be fake."

A feather-light meringue of a romance to remind us there will always be a Paris.

Von Sydow paints a compelling and very entertaining portrait of a showbiz original who found a niche, made his mark with an act famed for its shock value, and yet dabbled in most every musical style to come along after he broke big because he could and would try anything.

This “Jungle Book” could give remakes a good name.

Emily the Criminal is the face and voice of not just the summer, but an American generation right now, looking for a break and desperate enough to cross the line if they don’t get it.

Samuel’s film is an embarassment of acting riches, laugh-out-loud funny when it wants to be and thought-provoking when it dares to be.

Hopkins, Colman, Williams, Sewell and Poots give us an eyeful and and earful of a fate awaiting far too many of us in this quietly gripping and intimate drama.

Greta Gerwig’s Barbie is a movie of its moment, a brilliant bauble of female empowerment, scathing satire and genuine wit.

The truth is far stranger. And Maloof and Siskel reveal it only gradually. They structure their documentary thusly — negatives found, fame and acclaim follow, a post-mortem triumph. And then the REAL Vivian starts to emerge.

Ronnie’s is a gloriously musical celebration of the club where everyone from Dizzy to Sonny, Chet to Miles, Sarah and Ella to Carmen and Cleo held forth.

The best “wake up” call documentary of 2020, a movie filled with warnings discussed by the very smart women sounding those warnings, the very smart women doing something about this very real threat.

This quietly riveting Cannes Golden Camera Award (Best First Feature) nominee introduces a filmmaker with a great eye and almost serene patience, and an early mastery of this genre should he choose to make it his specialty.

The first third is brisk and witty, the middle third gloomy and the finale of Part 1 not so much a cliffhanger as a grim, inspiring tease, a masterly build-up to put "I can't wait for part 2" on every Muggles' lips.

In the hands of Tom Hanks and his “Captain Phillips” director, Paul Greengrass, this adaptation of a Paulette Jiles novel becomes a parable for these “troubled times,” a story of race and unrepentant racism, men of violence who won’t give up that violence and the power of a free press to rectify that.

A disarmingly charming documentary about Green’s walk, the people he meets and oh, the things he’s seen.

White finds ways for Stiller to surprise us, and the veteran actor manages to hide his cards in scene after scene, letting us keep up with him, but never ever allowing us to guess where his emotions will take him next, and what form they’ll take.

The best faith-based film ever made, an uplifting, entertaining and wonderfully-acted account of surfer Bethany Hamilton's life before and after a shark bit her arm off in the waters off her favorite Hawaiian beach.

Arrival puts Villeneuve, who first came to attention with “Incendies,” firmly in the first rank of filmmakers, a director capable of not just entertaining, but challenging. And the wide-eyed Adams, near the top of the list of the best actresses never to win an Oscar, delivers another riveting, melancholy and life-affirming performance that threatens to change that, maybe as soon as next February.