Roger Moore

Filmmakers Lowell and Mortimer were there to document every excruciating inch, with stunning Yosemite scenery as their backdrop for almost every striking frame. The film they got out of it is, like the experience they were documenting, one of a kind.

Thanks to Oldman’s unerring portrayal of a deeply flawed man rising to face a crisis, and inspiring a nation to rise with him, it’s an equally worthy reminder that there have been bad times before today’s, and that people, great and small, saw them through.

It’s a terrific film, much more reflective than the tributes CNN whipped together right after Bourdain’s death

This is what filmed spectacle used to look like — a trip to a place or time most of us could never see.

The sweet, the comic and the tragic blend together most agreeably in the winsome French romance The Hedgehog.

BlackKklansman is the funniest Spike Lee movie in decades, a film of such wit, tension, passion and relevance that it is his most important work since “Malcolm X.”

For a fan, Linda Ronstadt: The Sound of My Voice is a lot more than a quick trip through her career and her life, even if it offers few deep insights into her psyche and to others might seem just an exercise in Boomer musical nostalgia.

To fans who know the tunes by heart, hearing their history is never less than thrilling. And if you’ve heard that line about “Swampers” and never new who they were, you should. They have been known to pick a song or two.

In these, America’s darkest days since the Vietnam War, Crip Camp is an inspiring, upbeat shaft of light and a sobering reminder that whatever conservatives want to say about the ’60s, every now and then, hippies changed America, and helped America change the world.

Sossai hasn’t made a movie that sentimentalizes alcoholism, but he has managed to suggest the mistakes, busted dreams, dashed hopes and futility of getting ahead or getting by in a barely-functioning democracy and permanently-rigged “market economy” that makes the bottle such an appealing escape.

Through Short’s American Songbook jazz, I knew about the place long before I ever visited New York. And Miele’s documentary lets us know it even better, even if we can’t afford the cheapest rooms (not head-spinningly expensive). That would be, of course, the “Harrison Ford Suite.”

Artistically, Get on Up rivals “Walk the Line,” with a lead performance on a par with the career-making turns of Angela Bassett (“What’s Love Got to Do With It?”) and Jamie Foxx (“Ray”). With this wonder of the summer, Boseman and Taylor deliver a piece of American cultural history every bit as important as the Jackie Robinson story, a story told with heart, humor, funk and soul.

The story takes a surprising turn midway through, a change in direction that deepens the experience for the viewer, making us culpable in at least part of the misery these two face.

Comical, colorful, wonderfully cast and beautifully animated.

The true story of a Korean diplomat kidnapped in civil war-torn Lebanon in the ’80s becomes the most exciting, most entertaining buddy picture in years —“Ransomed” — the best action pic of the summer.

They may not name the illness after him. But when the “tough son of a bitch” underwrites the research that ends it, you can be damned sure his name’ll be on the cure.

A Mexican-accented kids’ cartoon so colorful and unconventionally dazzling it almost reinvents the art form. As pretty as a just-punctured pinata, endlessly inventive, warm and traditional, it serves up Mexican culture in a riot of Mexican colors and mariachi-flavored music.

This magazine of a movie is something to be savored, a rarefied delight that’s intellectually aspirational, as the great magazines used to be. It rewards the well-read, the art observer, the film lover, the Francophile and the Wes Anderson fanatic.

Yalda: A Night of Forgiveness is a riveting and thoroughly engrossing satire of Iranian culture and the work-arounds built into a theocracy, ways of ignoring calls for reform and the shedding of “tradition.”

I was shocked at how emotional the film, covering familiar ground with a lot of familiar footage, could be.

Of all the gonzo-goofy comic book adaptations that embrace video gaming sensibilities, Scott Pilgrim vs. The World is the gonzo-goofiest.

As he did with “The Dallas Buyers’ Club,” director Jean-Marc Vallée covers this inner and outer journey with a minimum of fuss. The flashbacks and their revelations, filling in the puzzle, are sparingly doled out. The stunning scenery Cheryl hikes through is barely noticed.

A swift and streamlined tragedy by the greatest playwright in the English language becomes a lean, quick and brutally brisk film in Coen’s hands.

Efira’s ability to play manipulative and nurturing, cunning and hurt, selfishly deceitful and vulnerable is impressive, and utterly necessary for the twists this script (by Barraud and Héléna Klotz) serves up.

The Drop is a simmering thriller from the writer who gave us “Mystic River” and “Gone, Baby Gone,” a tale heavy with the weight of violence we know is coming.

Bissell has made a film where the casting isn’t the only thing that’s “on-the-nose.” The message, where the film’s sympathies lie and its emphasis on the character with the bigger journey to make could earn it some “Green Book” styled blowback.

It all swirls together in a riot of color, action, deadpan gags and musical and martial arts mayhem, a kids’ movie that rushes by you so fast you won’t want to take a concession stand break.

Polley has taken a pointed, of-its-moment novel and turned it into an indictment and a plea for civil discourse in a call-to-arms moment.