Brendan Fraser is on the march to Oscar. That's how astonishing his acting is as a morbidly obese recluse in this deeply moving character study. Accusations that wearing a fatsuit diminishes his tour de force performances are nonsense. This is essential viewin

A love story about two pretty young cannibals won’t strike everyone as an appetizing dish. But you won’t be able to take your eyes off Timothée Chalamet and Taylor Russell as they try to reconcile romance with killer impulses on a road trip through hell.

So what if it’s talky. Writer-director Sarah Polley’s vital film gathers together eight women—acted with heat and heart by a miraculous cast—to debate what to do about male sexual predators. Doing nothing is not an option in this unique and unforgettable landmark in the making.

You’ve never seen a Pinocchio like this one, a funny, touching and vital masterpiece from del Toro that uses stop-motion animation to create a world of beauty and terror to get lost in. The Oscar for best animated feature belongs right here.

Let’s give thanks for this wicked, whacked-out whodunit sequel. Daniel Craig is back as southern-fried detective Benoit Blanc and all is right with the world as a cast of merry pranksters (yay Janelle Monae) turns murder most foul into comic gold.

Foodie culture gets hilariously torched as a celebrity chef, acted to pretentious perfection by Ralph Fiennes, holds his customers, except for a deliciously defiant Anya Taylor-Joy, to the fire at his restaurant from hell. It’s all delectably unhinged.

Despite some pokey pacing, the fierce human drama of how two female reporters, superbly acted by Carey Mulligan and Zoe Kazan, persuaded women to go on the record about being sexually harassed by producer Harvey Weinstein is the year's most gripping detective story.

Bring out the Oscars for the year’s best movie, a personal best from Steven Spielberg about his own coming of age as a teen torn between his love for movies and family (Michelle Williams is incandescent as his troubled mom). You won’t forget this hilarious and heartfelt classic in the making.

It can’t top the original and the absence of the late Chadwick Boseman hurts real bad, but Ryan Coogler’s sequel proves to be more than cringey franchise building by putting women of color in charge (yay to Angela Bassett and Letitia Wright) and watching them fly.

Cheers to Scotland’s Charlotte Wells for making the best movie of the year by a first-time writer-director. And cheers to Paul Mescal and young Frankie Corio for bringing this heartfelt father-daughter story to such funny, touching and vital life.

Danielle Deadwyler gives the breakout performance of the year as an activist mother who used the 1955 lynching of her son Emmett Till (Jalyn Hall) to galvanize the civil-rights movement. Director Chinonye Chukwu crafts this emotional powerhouse into essential viewing.

In a valiant effort to bring back the romcom, George Clooney and Julia Roberts sprinkle their stardust on a stale storyline that Rock Hudson and Doris Day might have found retro in the last century. Their hearts are in it, though, and that’s something.

Question for Dwayne "The Rock" Johnson: What happened, dude? How did your passion project playing a Black DCEU posterboy for anger management become a humorless, chaotic bummer that leaves you holding the bag for an epic failure to launch?

Ignited by career-best performances from Farrell and Gleason, this new classic from son of Ireland Martin McDonagh brims over with dark comic magic and jolts of bloody scary hell. Fasten your seatbelts for a spellbinder that stands high with the best movies of the year.

After 44 years Jamie Lee Curtis bows out of her iconic role with slashing feminist fire, but if you believe blood-lusting Michael Myers is really hanging up his mask in this divisive scam of a Halloween ending then you don’t know how greed powers Hollywood’s gift for resurrection.

Start engraving the name Cate Blanchett on the Oscar for Best Actress. Her virtuoso performance as a classical music conductor blindsided by cancel culture is an absolute stunner in a Todd Field spellbinder that belongs on every list of the best movies of 2022.

David O. Russell strands an A-list cast —Bale! Robbie! Washington! De Niro!— in a pokey and problematic mystery romp. You can feel Russell’s cage-rattling intensity, but only in fits and starts as the convoluted conspiracy plot goes out in a fizzle.

Sigourney Weaver deserves awards attention for turning what could have been a cliched dramedy about a real-estate agent, who’s also a functioning alcoholic, into something funny, touching and vital. And cheers to Kevin Kline as the dazed dude who loves her.

Anything for Halloween? You bet. Lock up the children—the Sanderson Sisters are back in a bewitching sequel that returns Bette Midler, Sarah Jessica Parker and Kathy Najimy to the roles they created in 1993 just in time to put a funny-scary spell on you.

Ana de Armas is raw and riveting as Marilyn Monroe in Andrew Dominik’s surreal journey through a star’s subconscious that leaves out the fun parts to cloak her life in abject misery. The nearly three hour result is hard to watch, but oddly impossible to forget.

All the drama seems to have happened off camera for director Olivia Wilde and stars Harry Styles and Florence Pugh. What's on screen is a glossy, repetitive retread of The Stepford Wives with a dash of The Truman Show and no discernible personality of its own.

There's nothing ground-breaking about this backstage murder mystery in 1953 London. Dig under the froth and you'll only find more froth. But thanks to the inspired lunacy of Rockwell and Ronan, it's a wicked fun whodunit that goes down easy.

A fierce and feeling Viola Davis headlines this historical epic about women warriors in 1823 West Africa and reminds us how indelible and truly inspiring it is to see these brave sisters doing it for themselves.

Queen Latifah and Ludacris drive right into a brick wall of action cliches.

Hi-Diddle-Dee-Dee, it didn’t work for me.

Despite the star presence of Kevin Hart and Mark Wahlberg, this laugh-starved, buddy comedy is crushingly dim-witted and disposable.

This romantic fantasy from visionary director George Miller is all over the place structurally, but odds are you won't be too bothered given the sparks ignited by Tilda Swinton and Idris Elba as a magical djinn hellbent on granting her three wishes.

Think of it as Jaws on Safari and you'll have some idea what to expect from this generic thrill machine that requires Idris Elba to look great (he does) while doing battle with a digital lion.

A slumming Jamie Foxx is cool to the max as a vampire hunter gunning down bloodsuckers in sunny LA. But you leave this goofy but mostly godawful action-comedy feeling pummeled, beaten down by an avalanche of sound and fury signifying the usual nothing.

Brad Pitt’s laidback movie star magnetism is a joy forever. Too bad that the action-heavy, incoherently-edited, Japanese choo-choo he’s riding goes too quickly off rails from exhilarating to downright exhausting.

As actor, screenwriter and dynamite debuting director, a seriously funny B.J. Novak takes aim at an America broken by disconnection. He doesn’t always hit his target, but when he does this tale of a New York liberal battling Texas gun nuts comes alive with mirth and menace.

Netflix broke the bank on this formula action epic fronted by A-listers Ryan Gosling and Chris Evans as assassins for hire. It’s good enough to rank as watchable. But even in these inflationary times, shouldn't 200 million bucks buy us more than good enough?

Another game-changer from Jordan Peele, who pushes the limits of fun, fright and movie love to take horror to the next level. What do UFOs have to do with the violence eating at America? Say yes to Nope—it’ll mess with your head and pin you to your seat.

Longing for a sweet little surprise that transports you to a place of pure movie enchantment? Then check out the glorious Lesley Manville as a struggling London maid who travels to Paris to fulfill her middle-aged Cinderella fantasy of owning a Dior gown.

The Delia Owens bestseller about sex and murder in the Carolinas comes to the screen as an antiseptic, airbrushed, miscast misfire that takes so few risks with the publishing phenom that it feels more embalmed than a freshly imagined version of the book.

It’s barely half as funny, fierce, romantic and thrilling as 2017's incomparable Thor: Ragnarok, but director Taika Waititi and sweetly self-mocking star Chris Hemsworth get such goofball jollies sending up the usual Marvel bloat that resistance is futile.

This Minions prequel would have to go some to make it as flimsy, but Steve Carell is pricelessly funny doing the voice of a pre-teen wannabe villain wrangling an army of goggle-wearing little buggers and you could do worse in a search for animated family fun

This unassuming animated gem about a shell (indelibly voiced by co-writer Jenny Slate) trying to find his family shames the bloat of big-studio cartoons by proving good things really do come in small packages. The result is unique and unforgettable.

Baz Luhrmann’s bejeweled battering ram of a biopic is all over the place, which can be distracting, but the grit and grace of Austin Butler’s performance as The King is a thing of beauty. A star is born right here.

More trifling lark than a new Pixar landmark, this toon hits the sweet spot as the story of astronaut Buzz Lightyear before he became a toy. Chris Evans voices the Buzz bluster, but it's breakthrough star Sox the cat who steals scenes to infinity and beyond.

Cooper Raiff, who created this Sundance prizewinner, can't hide his feelings for people with disabilities and the challenges that come to those who love them. And I can't hide my feelings for this exuberant gift of a movie starring Raiff and a never better Dakota Johnson.

It’s always a slam dunk when Adam Sandler drops his doofus routine and really acts. And here, as a basketball scout who yearns to coach, he infuses every frame of this formulaic crowd-pleaser with a real-deal love of the game. Hot damn! We have a winner.

The kid in us knows that even in a pokey, predictable sequel like this one you still stick around for the scary parts with the stampeding dinosaurs. But the wonder and awe of the Spielberg original have gone pfft.

Is surgery the new sex? Body horror maestro David Cronenberg and a cast led by Viggo Mortensen, Léa Seydoux and Kristen Stewart tackle that question and more in a futuristic sci-fi shocker that will leave you laughing, squirming and—yikes—thinking.

With the male need to control women hitting a new flashpoint, Alex Garland’s provocation is fired by urgency as the extraordinary Jessie Buckley stars as a widow threatened on all sides by toxic masculinity. Garland is stingy with answers, but his implications are incendiary.

The sequel is still unapologetically rah-rah about American imperialism, but who cares? Thirty-six years after the original, Tom Cruise is having the time of his life, the in-flight thrills are off the charts and—hot damn!—you won’t find more blazing action anywhere.

The Daniels and their wow of a star Michelle Yeoh turn this visionary absurdist comedy into a volcano of creative ideas in full eruption. It’s like nothing you’ve ever seen

The second film continuation of the Brit series knows it’s old-hat and out of touch. But it’s also comforting fan service and if you can shut out the real world in favor of a fantasy remembrance of things past, you’re in for a treat.

Sometimes a shamelessly retro wartime romance is all the escape you need and Colin Firth and Matthew Macfadyen add class and wicked humor to this fact-based WW2 spy thriller about how British intelligence used a corpse to put one over on Hitler.

The return of Benedict Cumberbatch to the world of Strange may seem chaotic madness to the uninitiated, but it’s thrilling to see livewire director Sam Raimi breathe hilarity and juicy horror into the Marvel formula that so needed a shakeup. This is it.

Nicolas Cage plays Nicolas Cage in this whacked-out meta-comedy that doesn’t always hang together as a movie but cements its gonzo star as the eighth wonder of the world when it comes to highwire acting without a net.

Enchantment still beckons in the third of J.K. Rowling’s planned five film prequel to Harry Potter, but this flagging franchise—beset with controversies among its creative team—slogs when it most needs to soar.

If long, loud and ludicrous is your kind of movie escapism, check out director Michael Bay’s latest shot of adrenalized, de-humanized filmmaking as a psycho bank robber (Jake Gyllenhaal) commandeers an ambulance as a getaway car. Entertaining? Exhausting is more like it.

Jared Leto goes the extra mile to bring a minor-league villain from Marvel Comics to the big screen, but this botched horrorfest about the so-called “living vampire” is less deserving of a sequel than a stake through its heart.

This all-over-the-place, all-silly, all-star (Bullock, Tatum, Radcliffe, Pitt) throwback to 1980’s escapism—think “Romancing the Stone”—radiates such a puppy-dog eagerness to please that you want to pet it instead of pointing out its faults.

There are glimmers of the perversely fascinating murder mystery of the classic 1957 Patricia Highsmith novel, but this misguided update suffers from a lack of suspense, wit and undetectable sexual chemistry between Ben Affleck and Ana de Armas. Read the book, skip the movie.

Ryan Reynolds leads an A-list cast in this ‘Back to the Future’ nostalgia trip that coasts down well-worn roads instead of paving new ones with fresh imagination. But there are still laughs and tears to be had this cynicism-free throwback to ‘80s family entertainment.

Pixar tackles the topic of female puberty in this animated funhouse ride about a 13-year girl from Toronto’s Chinatown who turns into a giant red panda in this wise and wonderful metaphor for the roller coaster of messy adolescence.

Director Matt Reeves and star Robert Pattinson see the Caped Crusader as more film-noir detective than comic-book hero in their mesmerizing mindbender that aims high even when it misses the mark. It’s a grenade of pure cinema ready to blow.

You’ve seen ‘Being the Ricardos,” but you’ll never understand the successful partnership and failed marriage of sitcom icons Lucille Ball and Desi Arnaz until you see Amy Poehler’s emotional roadmap of a documentary. Between the laughs, you’ll blink back tears.

So what if star and co-director Channing Tatum lays on the sniffles in this tale of an Army Ranger and a K9 warrior named Lulu, who steals every scene she's in. They’re both PTSD-scarred combat veterans who try to heal each other and they hit you like a shot in the heart.

Better lower your expectations about this video game turned movie. But Tom Holland, teaming up with Mark Wahlberg, proves his Spider Man success is no fluke, which makes this Indiana Jones knockoff more watchable than it has any right to be.

It’s shameless fluff wrapped in a blanket of bland. You won’t believe a word of this romcom knockoff, but JLo and Owen Wilson work real hard to convince you that love is the answer.

Even a lackluster script and dodgy computer effects can’t screw up the retro bliss doled out by director and star Kenneth Branagh as he sets sail for Egypt with an all-star cast of suspects who keep you guessing whodunit.

Joachim Trier’s scintillating Oscar contender from Norway, led by a captivating new star in Renate Reinsve, sets a new gold standard for romantic comedy just before it sneaks up and hits you like a shot in the heart.

This two-hour film wrap-up of the unjustly cancelled crime series may feel patchy and uneven, but it still gives Liev Schreiber’s iconic Ray—a hardcase-for-hire who can fix anything but the nightmare of his past— the send-off he and we deserve.

Here’s your chance to catch up with the best movie you never heard of, a flat-out masterpiece from Japan that’s a frontrunner to win the international Oscar and maybe pull a Parasite and compete for Best Picture. Why not? It’s enthralling from first scene to last.

Oscar shortlisted for best animated film, this ravishing new gem from anime master Mamoru Hosoda is a knockout fantasia that cuts to the core of Gen Z lives that revolve around digi-tech and yet speaks an intimate universal language of love and loss.

Way fiercer and funnier than a fourth sequel has any right to be. Here's ‘Scream’ for a new generation – so self-aware that it mocks itself for relying on borrowed inspiration (the 1996 Wes Craven original) while squeezing the golden goose for one last payoff.

There’s nothing fresh or surprising about a boy coming of age with the help of his bartender uncle (Ben Affleck reminding us what a terrific actor he can be), but director George Clooney’s affection for the characters serves up a winning blend of laughs and tears.

What a bummer to kick off 2022 at the movies with a lame, gender-flipped mission impossible. Chastain and her team of women warriors could have shown the guys how action cinema is done. Instead, director Simon Kinberg traps them in an empty, soulless mess.

Note to Oscar: Make sure a best actress nomination happens for the blazing Penelope Cruz in this emotional powerhouse from director Pedro Almodovar about a Madrid photographer coping with an unplanned pregnancy and a tangled political past.

Peter Dinklage sings! Pushing past the conventional elements in Joe Wright’s ravishing musical version of a unrequited love, Dinklage makes believers of us all. His Cyrano thinks his small size makes him a freak. But it's not a poetic ideal he can't live up to, it's his. That's his tragedy.

Thank Maggie Gyllenhaal, in a stunning debut as director and screenwriter, for creating one of the year’s very best movies starring the magnificent Olivia Colman as a mother haunted by her troubled past. This, you do not want to miss

It’s been 18 years between ‘Matrix’ sequels, but beneath the action chaos of warring computer codes are Keanu Reeves as Neo and Carrie-Anne Moss as Trinity, proving that they’re still romantic icons of timeless cool in a movie that’s a stone-cold trip. Wowza!

The carny scenes of freaks and geeks are undeniably creepy, but director Guillermo del Toro’s hallucinatory brilliance only comes in flashes as Bradley Cooper and a dynamite cast struggle to build a mesmerizing misfire into the classic it might have been.

Tom Holland is better than ever in his surprise-packed, third solo outing as a teen hero in a onesie who’s out to save the world and a faltering pandemic box office. But this time the generic thrills are tempered with genuine emotion. Good one, Spidey.

If you cherrypick the good stuff from a sea of unfocused choices, McKay’s all-star comedy (Leo! JLaw! Meryl!) about impending doom has its playful and provocative pleasures. But the laughs don’t stick in the throat the way they must in a screwball farce that ends in utter hopelessness.

Sorkin distills what made Lucille Ball a comedy legend and a prickly feminist pioneer into one tumultuous week of production on “I Love Lucy.” As for those who thought Kidman would be all wrong as the fiery redhead, won’t you be surprised—she’s all-stops-out fabulous.

The year’s most indelibly inventive animated adventure mixes graphic design with documentary realism and puts hallucinatory brilliance at the service of understanding the continuing psychic damage of war. You’ll never forget it.

Is it sacrilege for Spielberg to re-imagine the Oscar-winning 1961 musical classic? Not when it’s this thrilling. Not when two new stars—Rachel Zegler and Ariana DeBose— get to share the screen with the legendary Rita Moreno. Then Spielberg sets the screen ablaze.

Darkness stays on the edges of Hollywood town in Paul Thomas Anderson’s screwball comedy explosion about the serious business of first love. Newbies Alana Haim and Cooper Hoffman light up the screen in one of the very best movies of the year. They’re to die for.

Amid the jumble of fake Italian accents and overall too-muchness, an Oscar-ready Lady Gaga is flat-out fabulous. Is this ravishing soap opera of high fashion and higher crimes outrageous camp or “The Godfather” in designer duds? I’m calling a tossup.

The creator of ‘Hamilton,’ Lin Manuel Miranda, offers a stirring tribute to the creator of ‘Rent,’ Jonathan Larson, whose too short life—as acted and sung by the sensational Andrew Garfield—becomes a love letter to his soaring spirit.

As the hard-driving daddy of Venus and Serena Williams, Will Smith gives the performance of his life in an unapologetic crowd-pleaser. You just may want to stand up and cheer.

No Joker in sight as the stellar and always surprising Joaquin Phoenix shows his tender side in this bracing, bittersweet family dramedy from Mike Mills, whose movie is a quiet thing, but with a delicate, soulful magic you won’t soon forget.

Can Jane Campion’s Montana western about toxic masculinity and repressed sexuality win Netflix its first Best Picture Oscar? With a never-better Benedict Cumberbatch leading a dynamite cast, let’s just say that no list of the year’s best movies will be complete without this cinematic powder keg.

No wonder Kenneth Branagh’s funny, touching and vital look at his own coming of age in Northern Ireland’s turbulent capital city is the Oscar frontrunner for Best Picture. No movie this year cuts a clearer, truer path of the heart. It’s his personal best.

Kristen Stewart is so good as Princes Diana—it’s the performance of her life—that the Academy should start engraving her name on the Best Actress Oscar.

Starring Tessa Thompson and Ruth Negga in two of the year’s best performances, this mesmerizing film about race, class and gender identity in the 1920s speaks urgently to right now and marks a brilliant directing debut from Rebecca Hall.

A Marvel epic that values personal connections over spectacle? Sorry adrenaline junkies, but that’s what Oscar-winning, indie director Chloe Zhao brings to her first superhero blockbuster. The slow-paced result is uneven, but memorably inclusive and unique.

The endlessly inventive Wes Anderson and a cast of all-stars use all the tools of cinema to give a big, fat, loving smooch to, of all things, print journalism and the gifted eccentrics who practice it. Too fussy? Maybe. But what an exuberant gift of a memory piece.

Denis Villeneuve’s take on Frank Herbert’s dauntingly complex novel can sputter and flirt with incoherence, but the director and his actors, led by an all-in Timothée Chalamet, find the pow and the poetry in this cornucopia of visual astonishments.

It gets the job done for trick-or-treat season, but this sequel falls short of expectations by sidelining its luminous star Jamie Lee Curtis and substituting rote mayhem for an inventively scary frightfest.

Harrowing to watch, but impossible to shake, this emotional powerhouse catches two sets of parents, brilliantly played by Martha Plimpton, Jason Isaacs, Reed Birney and an Oscar-worthy Ann Dowd, in the traumatic aftermath of a school shooting.

Despite a sappy ending that surprises in all the wrong ways, Daniel Craig’s fifth and final go-round as 007 cements his reputation as the gold-standard James Bond of the 21st century and lays down a challenge for anyone—he or she—who dares to follow him.

Joel Coen’s triumphant film version of Shakespeare’s tragedy astounds on every level, starring Denzel Washington and Frances McDormand, two acting titans, playing an aging couple taking their last shot at murderous ambition. There is no way you can take your eyes off them.

This big-screen prequel to ‘The Sopranos,’ with a touching Michael Gandolfini playing the teen version of the role created by his late father, is good, but not good enough to score as a great mob epic in its own right.