Soren Andersen

Everything in the picture, from the characters’ clothes and hairstyles to the vessels they sail, bear the stamp of authenticity. But Moana’s greatest strength is the verve in which they move the action along and the sheer joyousness evident in every aspect of their storytelling.

The movie becomes an immersive experience that sweeps the audience into all-encompassing venues of imagination.

The Rise of Skywalker rates right up there with the 1977 original, “A New Hope,” and 1980’s “The Empire Strikes Back.”

Linklater gets it right in every significant regard.

Gosling, who previously worked with Chazelle on “La La Land,” is perfectly cast.

Röhrig’s performance is an extraordinary feat of minimalism. His expressions convey a deadened spirit. Yet behind his eyes and at the corners of his mouth are signs of a spirit that won’t be crushed.

Both star and director are at the top of their game here, and that’s as good as movies get.

It’s a detective story. It’s an insightful commentary on the state of us, which is to say us, the U.S., in this divided, disjointed, distracted age. It’s a comedy, sharp and frequently hilarious. It is, above all, consistently surprising.

It’s remarkable.

“Fury’s” pace is delirious, the stunts are incredible — such crashes, such explosions, such a lot of flying bodies — Hardy’s performance is a marvel of subdued conviction and Theron brings an impressive gravity to her work as Furiosa. Put it all together, and you’ve got a rousing crowd-pleaser that hits on all fast-revving cylinders.

“Oppy” is a salute to the best of what humans are capable when they unite in a common purpose to expand their knowledge of matters beyond the realm of the known.

There are plot levels here that are deeper than the original, which is quite complex and moving in its own right.

DiCaprio’s performance is an astonishing testament to his commitment to a role.

Zootopia delights, in ways big and small.

Under Chukwu’s steady, sensitive direction, Deadwyler’s performance is such that it overshadows everyone else in the movie.

Though his character bears Fails’ name and the picture is autobiographical, it’s not a documentary. Fails and co-screenwriter Rob Richert have embroidered on his experiences to create a story that melds realism with make-believe.

Wachowski has taken the familiar and modified it in such a way to make it seem new. It’s a brilliant act of transformation.

It’s heart that’s overflowing with love, poignancy, humor, color and music.

Jolie draws restrained, naturalistic performances from her all-Cambodian cast, particularly young Sareum Srey Moch. There’s a stillness and a stoicism in her portrayal that makes her an unforgettable figure in this unforgettable movie.

The fourth time is truly the charm in this long-running franchise.

T2 is a sequel that is at least the equal of the revered original.

Capernaum is a searing, unforgettable work.

What Warner undergoes in Crown Heights is difficult to watch. Yet in the end, remarkably. there is triumph. And, finally, justice.

Sometimes hilarious, ultimately poignant, Swiss Army Man is a picture like no other.

After having been made and remade for the screen and converted into a long-running hit Broadway show, it might have seemed like “The Lion King” was a played-out property. “Mufasa,” under Jenkins’ poised and creative direction, proves there is still plenty of life left in the long-reining “King.”

These filmmakers have made arguably the best Halloween since that first one.

Sachs’ A Space Program is a disarmingly delightful out-of-this-world trip.

A fast-moving, clever and funny picture.