Slow, stark and sometimes surreptitiously beautiful, Michael Haneke's The White Ribbon is as cold and clinical an examination of evil as you could imagine.

It doesn’t have to be a great movie. It’s a great experience, like a beautiful summer day.

Although it can be harrowing and disturbing, Joachim Trier's film -- and Lie's performance -- are so masterful that the movie seems more like a searing portrait of self-discovery and realization, with the understanding that not everything you learn about yourself will be pleasant.

It is devastating and magnetic and most of all brilliant. Don’t miss it.

With incredible attention to detail and an unwavering commitment to the world he has created, Eggers slowly, surely builds tension until it's almost unbearable. And that's delightful, if you're a horror fan. It's a terrific film.

Gordon-Levitt has been so terrific for a while now that he's become a magnetic presence; Willis is also on a nice streak, not as strong here as in "Moonrise Kingdom," but still quite good.

The acting is outstanding; Mungiu’s straightforward dialogue and naturalistic shooting make for a movie that feels genuine, with no false steps.

The story is captivating from the very first moments.

The direction in the film is terrific, with an atmosphere and vibe so pervasively thick you can practically feel what it’s like in the town. And on this particular night — this vast night — it’s creepy indeed.

It’s a really good film, but it’s certainly not an easy one to watch.

A Ghost Story may be the ultimate litmus test of where you fall on the line between artistic merit and laughable pretension.

Widows works best as a slow-burn thriller, a masterclass of patient reveals and cleverly withheld information (which, as any fan of her knows, are Flynn’s hallmarks). But Widows has more to say, touching on the topics of generational power, the dynamics of race in politics and marriage, the institutional racism present in police violence.

The ways in which Love After Love is successful at portraying the grief process is also what makes it at times wildly unpleasant to watch.

McBaine and Moss expertly build tension leading toward the election. Last-minute surprises and frustratingly cynical attacks only increase the edge-of-your-seat aspect of the film.

It is particularly rewarding to see Clooney outside his comfort zone of self-composed cool in The Descendants, Alexander Payne's beautifully gentle, funny and moving film.

The film gifts us with a fresh perspective, not just of the space race, but of ourselves.

There are surprises and plenty of action. What's good about Snowpiercer is how they all blend together; each element informs the other.

There is something fascinating about the intimacy of the camera here that is magnetic. And harrowing. And frustrating. And maddening. And a little sad.

While Star Wars: The Last Jedi is a good movie and a worthy entry, it would have been stronger if Johnson didn’t telegraph those new directions before leading us to them.

The hidden magic in De Palma is Baumbach and Paltrow’s editing. The pacing is just right, and the stories flow, one from another. Sit back, relax, watch, listen and learn. It’s a good time at the movies.

In the hands of three gifted actors — Natasha Lyonne, Elizabeth Olsen and Carrie Coon — it is a beautiful film, one of the best of the year.

he beauty of The Wind Rises — and it really is gorgeous — does not mask the troublesome aspects of its story, or of human nature itself.

Soul asks its audience to examine what in life truly is important. You never know what your spark might be, until suddenly you do. And it might not be what you think. Turns out you may have had it all along.

It is a fascinating film, and if it skimps somewhat on the moral complications of this kind of art, it holds nothing back in terms of volume: Image after image grabs our eye and often grips our throat.

Don’t forget to bring a box of tissues with you when heading to see “Sing Sing.” That isn’t because it’s a sad story necessarily, but one that moves you and makes you empathize with the main characters. It is real and raw.

It all works beautifully. And the animation is brilliant. It’s all in service to the story of a girl who must decide whether to resist change or embrace it. Will she hide from her true nature or will she grin and — sorry — bear it? Turning Red answers the question in a surprisingly satisfying way.

Demange's busy camera is effective in conveying the chaos swirling around Hook. If we can't always tell exactly what's going on, neither can Hook. It ratchets up the tension considerably.

Blackfish is a disturbing movie, one that will make you rethink parks like SeaWorld and their value.

At times hilarious but ultimately heartbreaking, Project Nim is a great chronicle of the 1970s and all the nutty ideas that implies; academia in particular comes in for a hard reckoning.

Captivating and grim, The Lighthouse is a tempestuous descent into a briny abyss urging its audience to pack a life preserver.

From its beginning, Mandy is an unsettling, acquired taste.... It's not afraid to let the camera linger on gore or draw out dialogue in creepy tones with ice-cold stares. And that's where this movie wins.

20 Feet From Stardom is frequently sad and frustrating. But while there’s heartbreak aplenty, the film doesn’t function as a pitying paean to unmined talent — it’s ultimately a celebration of the unsung.

It’s refreshing to watch Bening, making the most of her best role in a long time.... It’s just an outstanding performance, and reason enough to see a movie whose charms are as unusual as its characters.

For anyone with an interest in dance, Pina is a must-see. For anyone not interested in contemporary dance, Pina is a should-see. It could change your mind.

The naturalistic style Michod employs adds to the sense of dread.

What Scorsese has really made is a beautifully crafted love letter to movies, the passion of his life. What sounded like an odd pairing winds up being a perfect fit.

The Lego Movie is a delight, a funny, fast-moving film that should satisfy adults and children alike.

There are many remarkable things about Gloria, Sebastián Lelio’s film about a woman in her late 50s seeking love or something like it. Foremost is the performance by Paulina García in the title role.

If you stick with it, Evil Does Not Exist offers rich rewards, as well as lessons, no matter how inscrutable at times.

This is a man who knows things, and Hawke creates an inspiring platform that allows him to share (at least some of) them.

What makes 56 Up, like the “Up” films before it, so remarkable is how it puts these stories together, giving us an ensemble of characters as interesting as any in a scripted drama.

The love the two have for each other, particularly she for him, is obvious and moving. So, too, is not just the desire to create, but the need to.

It’s fantastic.

BlacKkKlansman is Spike Lee’s best movie in years, bringing together everything that makes him such a dynamic, exciting, urgent filmmaker – as well as some of what can drive you crazy about him, too.

Ultimately, the movie is really boring. Any charm or spark it might have had is quashed by a lack of strong direction and writing.

Yes, Glazer asks a lot of his audience. At times the movie feels like something you've walked in to the middle of, so you're thrown off balance. Yet it's hypnotic — you want to stick around to see what happens, and maybe just to figure out what the hell is going on.

Polsky keeps things lively, both visually and with his editing. But the sometimes-lighthearted approach never undermines the serious business at hand. It enhances it.

This is a story about taking risks, about putting the good of the country before your own. It sounds corny and clichéd, but even in Spielberg’s hands it doesn’t come off that way.

Some of the behavior of Uriel and Eliezer will make you squirm. But Ashkenazi and Bar-Aba are so compelling in their performances of difficult men that you'll gladly suffer.

Movies about movies don’t always work. Even in this case, the films Scorsese discusses are superior to the one we’re watching. (Most of them, anyway.) But “Made in England” is so good in its own right, as a gateway to so many remarkable films, that it’s a great starting point for the uninitiated and a great reminder for everyone else.

The cultural specificity and fiercely patriarchal setting sets Mustang apart. It’s a timely reminder that, even still, there are few safe havens in the world for a free spirit.

It’s dark, nihilistic, funny and ultimately sweet and hopeful, and thus so inadvertently perfect for people stuck at home practicing pandemic avoidance that you kind of have to love it a little.

The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.

It's terrific. It's about many things, but dread infuses them all. You won't be grossed out. You'll be creeped out. And that's a lot more satisfying.

Birbiglia, whose previous feature was the well-received “Sleepwalk with Me,” has made a tiny gem, a delightful film as surprising as it is satisfying.

It is exceptional acting, and Locke is a tremendous piece of filmmaking.

Once you’ve seen the work Stallone and Jordan do in Creed, the idea of a “Rocky 8” doesn’t sound so bad.

The catharsis found here is far quieter, and much more effective, whether it be the pain expressed in a student's essay or the honesty found in a simple gesture, one that ends the film in beautifully moving fashion.

It’s a lot of fun. Unfortunately, in her slavish devotion to creating the world of schlocky, B-grade sex-infused horror films, she recreates the good and the bad, the latter including some boring stretches that could’ve been lost in the two-hour running time. But it’s all quite enjoyable and a knowing take on patriarchy besides.

Muylaert goes for answers and, at times, they may come a little easily for all of the turmoil that leads to them.... But Casé’s performance overwhelms any such quibbles. She is a delight, and thanks in large part to her performance, so is The Second Mother.

Powell and Arjona have electric chemistry. It’s a joy to watch their back-and-forth — not quite the banter of classic screwball comedies, but close.

127 Hours is based on Ralston's memoir, and it's a really good movie because director Danny Boyle is a genius.

Chomet's defiantly two-dimensional artwork is warm, inviting, beautiful, establishing immediately a comfort level, at least for audiences of, ahem, a certain age.

The only flaw here is the score. It's beautiful but so obtrusive, particularly at the start, that it threatens to turn the proceedings into melodrama.

There was a cry from Wallace fans when Segel was cast (some are still up in arms), but he’s terrific. So is Eisenberg, in an even more difficult role.

Flawed but impressive, War for the Planet of the Apes finds its place comfortably, and near the top, of a surprisingly satisfying summer season. It’s a smart take on the old films, making this a series that can stand alone in its own right.

Impressionistic, unconventional and often downright weird, it’s most of all an exploration of humanity — what that means and how it is achieved.

The resulting portrait is nothing short of a tiny filmmaking miracle. It’s guaranteed to make you feel something — hopeful, probably, for Grace and her wards. And maybe even for the future of indie filmmaking.

Lanthimos makes statements about the nature of love and relationships and their place in society, and there are fewer statements more important than those.

The movie is fun, it's smart and there's plenty of action. There are enough knowing nods to old-school fans to satisfy them, but the nods don't get in the way. In fact - and a feel for this kind of thing is what makes Abrams so good - they're perfect, nice accents that won't slow down the uninitiated.

There is not a lot more to the story other than the effort to stay quiet and, thus, stay alive. But the pregnancy, along with a couple of other squirm-inducing set pieces, is enough to keep you on edge.

Overall, "The Teachers' Lounge" is a can't-miss mystery that proves not everything that happens in the teachers' lounge, stays in the teachers' lounge.

There is no particularly cathartic climax to Frances Ha. Instead there is a more realistic depiction of Frances’ growth. Like Gerwig’s performance, it’s natural, it’s realistic, perfectly believable.

Movies may be artifice, but in the best-made films you never really notice that they’re faking it. They feel real, lived-in, recognizable, whether in space or on a speeding bus that can’t slow down or inside a cramped apartment. C’mon C’mon feels real.

Of course blackmail, shady business dealings and overdoses abound in Johnson's crafty tale. He masterfully maneuvers today's political maelstrom with ease and makes these would-be caricatures into people who could very well be sitting next to you for a Thanksgiving feast.

James Ponsoldt’s film, and its stars, Miles Teller and Shailene Woodley, continually take us in unexpected directions, giving the film an unexpected depth. It feels real, its emotions earned.

It's fun, it's exciting, it's entertaining. And if you are sure you can smell the salt and the waves when you leave the theater, who knows, you may be right. [09 Feb 1967]

Once the movie is over and you realize how the filmmaker has turned the tables, you can't help but be amused — and amazed.

Combining his eye for expressive filmmaking, a mature performance from the three main stars and a droning pop score from Trent Reznor and Atticus Ross, Challengers is a seductive feast for the senses.

What Boyle and Sorkin are after here is a portrait of Jobs, not a photograph. And they have succeeded in making one, in wildly entertaining fashion.

It is gripping from the start, not just because of the quality of the music, but because of Marley's magnetic, challenging personality, as well.

Le Havre is a small bit of movie magic, a story that plays more as a fable even as it deals with something as topical as immigration.

If one definition of art is seeing what everyone else does, only in a different way, The Holdovers fits that bill. It’s a delight.

Marder uses sound and silence as essential character elements. He offers frequent, jarring contrasts between what Ruben hears and what we do. This isn’t just to emphasize what Ruben has lost. It’s also a reminder: Silence can be shattering. It can also be beautiful. And it can bring peace.

Its images are classic, its story immediate and urgent. That's a pretty vital combination.

Da 5 Bloods may not be the masterpiece you’d wish for, but it is a welcome contribution to Lee’s work, and to the conversations we all need to be having.

It's this simple: If you like movies, you need to see Side by Side.

“Last Black Man” pulses with undeniable energy and the promise of other, even better films to come. As director Joe Talbot’s first movie, it’s impossible to imagine it will be his last.

Wes Anderson’s Isle of Dogs is delightful, giddy fun, but it’s more than that. It’s also insightful and relevant, all while existing inside one of the signature wildly creative, self-contained worlds Anderson creates.

The acting is good throughout the film, but Gladstone and Stewart are a step up from everyone else. It’s tempting to say it could have been a feature all on its own, but as it stands it’s nearly perfect, making an already solid Certain Women that much better.

In addition to the performances — truly, everyone is good — what stands out is Sachs' direction. It's measured, patient. The scenes play out as one imagines the characters' lives would.

That everything is held at such a remove is the artistry of The Assassin, but it comes at the cost of emotional investment. It’s so elliptical in its approach that there’s no love for anyone, or anything, outside of beauty. It can be admired — greatly, even — but it can’t be felt.

Captain Phillips is a voyage well-worth taking.

Sometimes the smallest things can get away from us. Farhadi knows this, and reminds us, again and again in this outstanding film.

The story, meanwhile, strains to be a masterpiece. And the strain shows.

You'll admire it and maybe even be astonished by its twisty nature, but that very twistiness can also feel more like a filmmaker showing off rather than something that emotionally engages a viewer.

With attacks on diversity and inclusion more abundant and dangerous than ever, “Deaf President Now!” is more relevant than ever.

There are no winners here. Maybe that’s cynical, or maybe it’s true. But it’s a bleak and sometimes powerful message that Villeneuve delivers with blunt force.