Roger Moore

Beautifully cast, touchingly played and handsomely mounted, Belle is as close to perfect as any costumed romance has a right to be.

Daniel Day Lewis, Hugh O’Conor and director Jim Sheridan made damned sure that whatever Hollywood thought, whatever “rewarding a stunt performance ” rationale might enter in filmdom’s collective mind about this bit of work, their combined efforts would be never less than a wholly realized human being.

Every action in this Cannes award-winner is motivated if not wholly rational. Every consequence grimly believable and shorn of artifice and melodrama.

The script and Simmons, known for TV’s “The Closer” and as tantrum-tossing editor J. Jonah Jameson in “Spider-Man,” make Fletcher a monster, and then look for ways of explaining him.

The Guard soars along on a script, like those by the other McDonagh (Martin wrote and directed "In Bruges" and the Oscar winning short "Six Shooter," both starring Gleeson) built out of verbal flourishes and Irish curses.

The Rider is a docudrama as elegy, a slice of rodeo realism that both romanticizes and demythologizes the Cowboy Way in a corner of America where that still means something.

The performances, direction and writing of one of the best pictures of 2010 make this Social Network every bit as addictive, and a little chilling as well.

Breathtaking and definitive, Apollo 11 avoids voice-over narration or overly-explaining anything about America’s date with destiny in July of 1969. If we aren’t old enough to remember it, we’re supposed to know it. It’s in our DNA.

It’ll be on PBS at some point, but don’t wait. Seeing it in a cinema has a hint of religious experience about it.

This unblinking look at America's Red State Crystal Meth Belt is an instant Southern Gothic classic.

A great movie like Dark Waters reminds us of what happened, of just what the “system” failed to do to safeguard us. And it reminds us of what a legal crusade looks like — a years-long grind of discovery, depositions, evidence and trials, and to be thankful for dogged, dull pluggers like Robert Bilott who stopped a mass murder in progress, armed with only a degree from “a no name law school.”

Duvall, an American Lear not going gently into that good night, reminds us that it will be a sad day indeed for movie fans when it's about time for him to Get Low.

A Beautiful Day in the Neighborhood is a biographical essay in sweetness and light.

Gorgeous and almost shockingly moving.

It’s a powerful, disturbing crisis of faith drama that takes on the raiments of a thriller, and a tour de force for the understated acting of Ethan Hawke.

The heart, action and sophistication of the artwork make this folk tale the best animated film of the year.

It stands with the greatest racing movies ever, and it’s certainly the most entertaining. But there is no doubt about one last superlative. Ford v Ferrari is one of the best pictures of the year.

In a year when much of the world has been stuck at home, day drinking, Another Round is a welcome shot of bitters with a warm cognac chaser, and a bracing/revealing renewal of a grand Danish partnership, Vinterberg and Mads his muse.

Great directors make great movies. And with Dunkirk, Christopher Nolan has made his second masterpiece, thrilling history retold, remembered and relished.

A riveting saga of pain, grit and the brute moral relativism of revenge, the first law of all, and the only one that mattered back then. The Revenant is one of the best pictures of the year.

That rare film in which every performer in it leaves the viewer in awe.

Artful, epic, operatic even, this thriller set in the world of ballet challenges the viewer with its intelligence and depth and wit.

A moving, hilarious and stunningly-animated adventure epic.

J.J. Abrams, with Steven Spielberg producing, has made one of those jaw-dropping out-of-body summer entertainments that kids old enough to swear and see PG-13 films will remember on into adulthood.

Brooks is the one who makes the message work, the one who should have been credited and the supporting player who makes “Sullivan’s Travels” worth the journey. He’s the difference between a good film of the Depression Era, and a classic.

Engrossing and moving story of a alternately warm and combative relationship.

If history’s tide runs against the Globe, at least those who worked there have the satisfaction of exposing a global wrong, and helping to end it. And they have McCarthy’s film, one of the best pictures of 2015, as a permanent record, a tribute in cinematic form, to their art and craft in its finest hour.

It is the most American movie of 2019, wearing its optimism in every gilded, rain-speckled, sun-flecked frame.