Steve Persall

Guilt and obsession combine to create the most personally revealing effort of his career. [Restored version; 13 Dec 1996, p.5]

Moonlight is a modest masterpiece, and quite possibly the best film of 2016.

Hoop Dreams is what sportwriters would call "the total package:" intimate and illuminating in its depiction of two Chicago high-school basketball players and their goals, while never allowing an audience to forget that these boys and the families who support their struggles are part of the American fabric which hasn't received its due. [13Jan 1995, p.6]

No other movie has so masterfully conveyed the folly of nuclear warfare, or poked such savage fun at a military that wages it. Stanley Kubrick's coal-black comedy has a timeless quality that will probably extend beyond disarmament. [6 Aug 1995, p.2B]

Toy Story fully understands the limitless potential of childish fantasy, and the computer animation style fashions dreams into a glossy, fantastic reality. [24 nov 1995, p.3]

There has never been a movie like 12 Years a Slave, which is Hollywood's shame. Miss it, and that mistake is yours.

Manchester by the Sea is a gracefully coarse ode to lives knocked down and if not bouncing back at least not splatting at rock bottom. There are also glimmers of humor shining all the brighter because of the darkness they cut through.

The greatest animated film of all time...one of the truly monumental cinematic accomplishments of all time. Each frame was lovingly hand-drawn, rather than the stylized mechanics of computer animation that brought back the art form in The Little Mermaid, Beauty and the Beast and Aladdin. The effect is astounding, especially when the animators' attention to detail and four years of painstaking effort is considered. I'm not ashamed to admit that at a recent screening - right around the sound of the first "Heigh Ho" - I wept, awed by the artistry and savoring a rich historical and emotional experience. [2 July 1993, p.8]

Fonda's comedy instincts are in top form as a herpetologist duped by a con artist (Barbara Stanwyck) in a screwball comedy from director Preston Sturges. A vintage example of pratfalling into love. [16 May 2002, p.11W]

Gravity is a game-changer like "Avatar" in the realm of digital 3-D special effects, inventing trickeries to be applied by future filmmakers and possibly never improved upon. Yet its spirit is closer to Avatar's smarter descendants, "Hugo" and "Life of Pi," with the gimmicks embellishing, not driving, the material. Less Cameron, more Kubrick.

This is a remarkable film for more reasons than its antihero, from the cyberspeed wisdom of Aaron Sorkin's screenplay to Jeff Cronenweth's camera prowling the excesses of youthful genius gone wild.

With Amour, it's the rare feeling of watching a masterpiece unfold.

The last thing we see in Zero Dark Thirty is Maya's face and it is also ours, silently crying tears of reflection.

It's a mystery wrapped inside an enigmatic nation, flawlessly acted and difficult to predict. I'm always impressed when a movie informs about a foreign culture while it entertains, and this one is powerful art in that regard.

Hoffman's eye for detail isn't matched by his jolting way with a narrative, which an extra year's preparation and editing from its original planned release didn't help. One comes away with the suspicion that Restoration should have been a longer movie, and feeling somewhat relieved that it isn't. [02 Feb 1996, p.5]

Haynes designs a perfectly nostalgic sensory experience — something like a Manhattan department store window — needing a suppler story to sell.

The movie at times resembles a screenwriting workshop, with Delpy and Hawke trying to shoehorn every shade of this shifting relationship into a single scene. It doesn't feel genuine; certainly these two would know each other better by now.

Dunkirk is a staggering feat of filmmaking, as Nolan's fans are accustomed. Van Hoytema's cinematography conveys death trap closeness even with IMAX cameras on a vast beach. Hans Zimmer again proves himself a masterfully dramatic composer, turning violins into the sound of spiraling aircraft. The performances are solid as such Nolan's vision requires, including pop star Harry Styles briefly.

The surprises are plentiful and seamlessly connected.

Call it what you want but this movie is an instantly fond memory.

La La Land is a trove of references to musical milestones, not derivative but truly inspired. A more joyful movie for grown-ups can't be found this season.

The Coens fashion an atmospheric descent for Llewyn, a meticulous re-creation of Greenwich Village's folk scene in 1961, around the time Bob Dylan hit town.

Spotlight is a rare movie about the profession — and just enough about people in it — that simply feels right, speaking from the inside.

The Florida Project is a very funny, incredibly warm movie about what amounts to child endangerment. It earns its laughs, gasps and tears honestly, almost always keeping the kids distanced from unsavory situations. When that gap is bridged by a violent or protective act, the effect is devastating.

Toy Story 3 isn't merely the best movie of the summer -- even with summer just kicking in -- but an immediate candidate for best of the year.

So many things could go terribly wrong with Spike Jonze's Her, and it's a small cinematic miracle that nothing does.

Superbly directed by John Huston and acted with extraordinary charisma by Caine and Sean Connery. [14 Mar 2002, p.19W]

Star Wars: The Last Jedi launches the franchise to another level of action and humor thanks to incoming writer-director Rian Johnson, whose imagination seems boundless as George Lucas’ 40 years ago.

Plenty of secrets are uncovered before the fadeout, plus another nugget dropped midway through the end credits that may render nearly everything beforehand to be false. That's the nature of intimacies submerged so long then revealed.

Mad Max: Fury Road is a relentless marvel of sense-pummeling stunts and gargoyle horror that needs to take a breather once in a while.

Lawrence is in every scene of Winter's Bone, leaving her plenty of opportunity to make false moves. I dare you to find one, in a performance to be remembered during awards season.

Kechiche's doting on entwined limbs, thrusting pelvises and oral stimulation, all carefully posed and continued longer than necessary to get his point across, races beyond titillation to creepy voyeurism.

Paul Thomas Anderson’s Phantom Thread is passionless window-shop cinema, each static tableau lovingly arranged for display and easy dusting. Its centerpiece is a mannequin, albeit played by Daniel Day-Lewis, whose gift for keeping anything interesting is seldom so necessary.

Russell and co-writer Eric Warren Singer lay out these deceits and double-crosses with precision but American Hustle isn't merely a procedural. Defining these outsized personalities, tracing their unconventional connections and affections, is where Russell's movie finds its irreverent heartbeat.

With a loving hand and immeasurable skill, Scorsese has fashioned a classic film for any age, innocent or otherwise. [24 Sept 1993, p.8]

Teller plays notes all over the emotional chart, dovetailing into a divine riff on ambition. And he does nearly all of Andrew's drumming, aggressively and impressively so.

Searching for Bobby Fischer is an arresting anomaly among movies; a sports champion story that isn't maudlin or manipulative, with a child at center stage who isn't a hand puppet mouthing adult ideas in an overly precocious script. Zaillian's film contains characters we care about, plus loads of respect for its family audience. [11 Aug 1993, p.6B]

Two Days, One Night is deceptively slight of drama; it's simply a procession of real moments encountered by a simple character deserving more happiness than life allows, fleshed out by an extraordinary actor.

The blueprint for every pirate movie since. [24 Jan 2008, p.28W]

Hazanavicius crafted more than a replica of the silent era; this feels like a time capsule found 80 years later, right on time to be revolutionary in a louder world. Yet The Artist is a masterwork that likely won't be imitated. How many movies in 2011 can you say that about? Only the best one.

The End of the Tour asks viewers to lean in, listen well and be rewarded with an uncommonly intelligent and relatable movie experience.

Anomalisa ends with a major decision and a minor triumph, the result of a one-night stand in Cincinnati. Sad, desperate? Maybe. But in the hands of Kaufman and Johnson, an extraordinary movie.

It's a welcome chance to learn more about Lisbeth Salander, the kinky, punk hacker and pop culture phenom played by Noomi Rapace.

More than any other Disney delight, The Lion King involves our full emotions; we're biting fingernails one minute and laughing the next at characters who deserve their spots on toy store shelves. [24 June 1994, p.6]

The Death of Stalin is explicit content music to the ears of comedy buffs, a torrent of gutter wordsmithery unleashed by a bawdy ensemble.

Three Billboards lands somewhere near Coen brothers country, eloquently finding comedy in horror and vice versa. Yet it remains its own mangy animal; a study in grief that’s funny, finding justice in terror and forgiveness after the unforgivable.

The Grand Budapest Hotel is as artistically manicured as any of his seven previous movies, and richer comically and emotionally than most.

Like Bertie's struggle, there's so much wonderment to articulate about this film that being mistaken for a stammering idiot is a risk. See it, then say it for yourself: The King's Speech is the best movie of 2010.

Hell or High Water is a terrific piece of entertainment.... It isn't a highbrow indie but a gritty work of art. Mackenzie's movie thrills for all the right reasons and will be fondly remembered at year's end.

Marvel’s Black Panther is a milestone not only for its casting and director/co-writer Ryan Coogler’s cine-griot myth building but because it’s alive with fresh sights and sounds in a genre easily leaning on sameness.

Ronan is Brooklyn's linchpin, and its saving grace.

Leigh's characters merely act in a goofy and irritating fashion until their dramatic pay-off scenes. This uneven style cheats fine actors out of the chance to shade their roles rather than rely upon black-and-white emotions. [6 Mar. 1992, p.10]

Everything about Birdman is a bold cinematic stretch, from its snare-jazz soundtrack to a climax regrettably stretched too far. The line between Iñárritu's genius and Riggan's madness gets crossed once too many, but no matter. Birdman has 99 virtues and ignorance isn't one.

Lincoln is like a thoroughly researched poli-sci term paper come to life, with interesting personal material about the participants relegated to footnotes.

Chandor and Redford make an illuminating procedural of Our Man's response to calamity... Our Man is everyman, revealed by beautifully filmed and edited action without exposition.

Even with its faults, The Fugitive is an uncommon joyride among this summer's movies: a thriller that doesn't depend on bombs, bimbos or blue-screen effects to scare a smile onto your face. [6 Aug 1993, p.14]

Life Itself impressively covers the elements of Ebert's memoir.

The Shape of Water is a fairy tale of eros, horror and whimsy, a creature feature doubling as a swooning romance, its bloodiness pumped straight from the heart of master fantasist Guillermo del Toro.

One of the year's best documentaries.

Room is a startling movie experience, peculiar in setting and profoundly simple. It's a story of love born out of unseen horror, of nurture conquering nature. Room must be felt to be believed.

Not much happens to Woody in Payne's movie, compared to modern penchants for rushed narratives and easily defined characters. Yet patience pays off, with a suitably minor triumph for such an unassuming man. And a major acting triumph for Dern.

Director Alphonso Arau directs this adaptation of the Laura Esquivel novel with a light touch, even in the film's most bizarre twists and passionate turns. [07 May 1993, p.8]

What is missing is some balance; Pauline and Juliet are portrayed from their own idealized point-of-view, while parents and others who object to them are as silly, pompous and uncaring as the girls obviously perceived. Crime doesn't pay in Heavenly Creatures, but it's rationalized in expert, provocative fashion. [6 Jan 1995, p.7]

What makes Lisa Cholodenko's The Kids Are All Right remarkable also makes it a tad humdrum, which may be the filmmaker's point.

Nobody's Fool is an actors' showcase and a dramatist's doodle. But what an actor. Newman's eloquent, understated portrayal of a jovial heel ranks among his greatest. [13 Jan 1995, p.8]

The cinema grew up when Penn crafted this movie. Beatty was never better playing boyish insecurity while Faye Dunaway was a smoldering newcomer. Essential viewing for film lovers. [27 Sept 2001, p.14W]

The pointlessness of Jep's journey is Sorrentino's point, richly made.

This movie doesn't play any of its themes cheaply.

Argo works superbly on two levels, first as a white-knuckle re-enactment of events in Iran and scrambling strategies in Washington.

This is a rapturous cinematic experience, a spellbinding expression of shrouded ideas and exposed talent, top to bottom.

Style is the substance of Edgar Wright's inventive heist flick, a fresh, masterful synching of music and getaway mayhem, as if La La Land's traffic jam was moving, armed and dangerous.

Hushpuppy carries a lot of emotional weight on her slender shoulders, and Wallis makes one wish to climb into the screen to lighten the load with an embrace. Do not miss this performance, or this quietly astonishing, life-affirming masterpiece.

Considering Parts 1 and 2 of Deathly Hallows as a single enterprise, as they should be, this is a rare franchise that just kept getting better.

Shannon is perfectly cast, a creepily magnetic actor with an otherworldly calm, tight jaw and piercing, set-apart eyes. The performance and movie stick with you, with masterful construction and muted psychological horror.

Get Out loses its nerve winding down but it's a rare horror flick not wasting all its brains on splatter.

In some moments, Amy feels like another intrusion on the singer's privacy, like the gossip vultures circling her drug and alcohol binges, awaiting her 2011 death. Those uncomfortable moments are far outweighed by sympathetic ones.

Tinker, Tailor, Soldier, Spy is boldly dull in protest to modern movie tastes, and that alone may earn it more praise than it deserves.

Everybody Wants Some!! is as playfully raunchy as any sex comedy doubling down on exclamation points can be.

With The Past, Farhadi again displays a gift for poking into corners of nondescript lives and discovering unique drama.

Ponderous and perplexing, a somberly audacious film to make viewers swoon or snore, take your pick. It is defiantly opaque, a free-form meditation on nature and nurture across millennia with a tinge of biblical grace.

Restrepo is about soldiers, not politics. The question of whether U.S. troops belong there isn't posed. Their devotion to duty and each other is unquestioned.

A movie as direct and devastating as a point-blank bullet to the back, like the one that killed Oscar Grant on the first morning of a new year, 2009.

Every fallen-star cliche director/co-writer Brett Haley employs goes down smoother with Elliott's baritone and unforced cool. He has deserved a spotlight role for years and now deserves a finer one.

Young, old, black, white or whatever: This is one Bus you can't afford to miss. [16 Oct 1996, p.1D]

These characters don't realize they're funny, and the actors are determined not to push it. Willis fares best, playing against in-control type; Murray fans expecting a comedy explosion won't find it here.

While it is a visually dazzling epic, Farewell My Concubine rarely rises above the level of a sumptuous soap opera. [22 Dec 1993, p.7B]

Eggers' chilling debut is a small masterpiece of atmosphere.

Johnson keeps it simple, yet never stupid. Looper is a puzzle engaging your brain, rather than frying it, as one character describes the process. Obviously he has seen enough movies on the subject by 2024 to know how frustrating that is. This one plays fair with the fantasy.

Kubo and the Two Strings is lovely to behold, if viewers manage to keep their eyes open. It's an animated doozy and drowser at once, an uncomfortable mix of Miyazaki-style imagination and generic dullness.

David Lowery's A Ghost Story is a different sort of haunting, a quiet reverie of never letting go of people, places, anything. Some viewers may think it silly, others profound, but there's no other movie quite like it.

The Descendants would still be a splendid movie without him; with Clooney, it's one of 2011's very best.

Brand is amusing, in a nutty "Get Him to the Greek" sort of way, while Moore delivered one of the funniest performances ever.

A terrible title for a not-much-better movie, missing a grammatically correct question mark and most of the point with romantic comedies.

Wright is an insanely funny filmmaker (Shaun of the Dead, Hot Fuzz) yet only the front half of that description carries over to Scott Pilgrim vs. the World.

It's a story languorously told in three chapters, the first two in the late 1980s and the third 15 years later. Each could be a movie unto themselves. Together they prove Cianfrance to be an effectively unobtrusive storyteller, crafting without artifice what book critics would call a page turner.

Barbershop: The Next Cut's heart is in the right place, and I enjoyed nearly every unkempt minute of it.

A movie as fun as it is flawed.

This is a gorgeous production, even by Miyazaki's standards.