Roger Moore

Saoirse Ronan shines in the title role, a wily, physically-fit and lethal girl.

Ford, in a performance as affecting as any he’s ever given, lifts this romance in ways we never see coming.

If you're looking for a filmmaker to document, for all of humanity, "one of the greatest discoveries in the history of human culture," the great Werner Herzog is your guy.

Vivian makes for a fascinating account of the psychological scars of a divorce, born mainly by their reserved, internalizing mother but rippling through to the daughters.

Bennett impresses, first scene to last.

With Win Win, McCarthy has found his emotional sweet spot, a sweet and complex story to set it in and the perfect title for it.

Like the master big screen poker player than he is, Roth never ever shows his cards.

It’s the genius of this genial, formulaic coming-of-age comedy that Lady Bird never seems too broadly drawn. We’ve known this kid, gone to school with her, watched her reinventions continue straight on into college.

Me and Earl and the Dying Girl isn’t deep. But this sure-to-be-a-crowd-pleasing laugher/weeper reminds us that there’s nothing wrong with a romantic comedy that reaches for inspiring and cathartic between the laughs.

It’s damning in its depiction of a culture “willing to look the other way so long as he was making a lot of people a lot of money.”

It is Carrey, turning his patented rubber-faced, rubber-voiced shtick loose on a role with heart, substance and entertainment value, who makes this romantic farce a movie too good to sit on any studio's shelf.

A terrific heist picture.

I, Tonya flirts with mocking its characters, but Janney and especially Robbie counter that with their unblinking, “not on my watch” performances.

I like the way Moss and McBaine set us up to accept stereotypes — about teenage girls and their priorities, about conservative Emily or confident liberal Faith — and then upend those expectations.

Sicario is a conventionally unconventional drug wars thriller, a well-cast, breathlessly executed peek into the heart of a Trumpian nightmare of Mexican cartels which kill at will on either side of an embattled border.

In Oppenheimer, Nolan tells an epic story tacked onto an introspective, multi-faceted life, a hero in the Greek tragedy mold — brilliant and focused, but a man who knew his flaws and conflicted enough about his work that he all but accepted his fate as just deserts for all the “blood on my hands.”

One of the best pictures of the year and the best movie of the summer.

The performances and Greengrass’s way with action immerse us and make Captain Phillips a tight, taut,edge of your seat thriller even if you remember the ending.

There are people, powerful people, who don't want old cases dug up. It's a tribute to the story's construction that the mystery only deepens, the more Benjamin digs.

That makes Sarah's Key that rare Holocaust tale that punches through the cobwebs of history and its dry, inhuman statistics, and brings that terrible past to life.

Repellently violent, intimately epic and powered by a performance so absorbed, hurt, confused and just “out there” that it makes everything that’s come before it in the genre just a vamp in tights, Joker turns every previous film in this justly maligned genre into “just a cartoon.” Damn. There’s an Oscar in this.

That message, this script and these actors make Rabbit Hole one of the best films of 2010.

Dafoe, high on the list of best actors never to win an Oscar, was at his very best in this portrait of a loner who starts to take stock of “the life” at 40.

Joe is the movie that will make you remember how good Nicolas Cage once was and can be again.

Writer-director Roy shows himself to be a De Sica, Spike Lee or Cuaron of the Philippines, an artist who points his camera at his world and makes us see it the way he does.

The dialogue is hard-bitten and Mamet-sharp.

McQueen makes the viewer work towards understanding the themes and subtexts of these films. He gloriously recreates the jaw-dropping delight the bullied, racially-taunted kid experiences the first time he sees the shops and colorfully-attired street life of “his” people on moving day.

Social Dilemma is a good film, probably too little too late to play a role in saving democracy or healing a nation so divided half of it won’t do the most basic things to stop a pandemic. But there you are, and there we are.