First Cow sneaks up on you a little bit. You become engrossed in these men and their relationship, then their business, then their survival. And that’s definitely not nothing. Far from it, in fact

It is insane. In a good way. Whoever said "Too much is never enough" made an impression on Miller, who uses the phrase as a starting point and blasts off from there.

A genuine triumph, a great movie with astounding performances so natural, so genuine, that you forget it's a movie.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

Checking in at nearly three hours and so full of passions and appetites, it’s impossible for it not to exhaust you.

If you’re making a movie about someone with exacting standards, Day-Lewis is your man. Yet what’s so exciting about Anderson and Day-Lewis’ collaborations is that while the actor is always superb, they’re very much the director’s movies. They feed off of one another, creating collaborative works that show off each other’s strengths.

As its title suggests, This Is Not a Film may not be what we're used to in a movie, but in many ways it's much, much more.

It’s powerful, a technically dazzling achievement; so audacious is Nolan’s filmmaking that if it didn’t serve the story you’d think at times he was just showing off. He’s not.

It’s clear from the opening shots that a physically and psychically savaged post-war Poland is impossible ground for love to flower, and it’s a testament to Pawel Pawlikowski’s talent that this fatalism makes us more, not less, invested in the romance.

Paterson keeps plugging away, despite the intrusion of some outside forces. Making art is simply part of his makeup, and it makes Paterson a hopeful film.

Genuine, honest, thrilling.

Boasting terrific acting, a brilliant soundtrack, outrageous outfits and hair, and a kinda-sorta based-on-fact story of ambition and greed, it’s relentless, in the best possible way.

The last act takes a couple of turns that rely too heavily on coincidence, but overall Whiplash (the title comes from the name of one of the songs the band plays) hits very few sour notes.

There is strength in simplicity, something the Dardenne brothers' Two Days, One Night and its brilliant star, Marion Cotillard, prove emphatically.

Killers of the Flower Moon is a full-on cinematic experience. It’s rare that a movie that you should see is also one you want to see. This is one.

Minari is as moving as it is entertaining, and it is a lot of both.

It's clear that Wang pours her soul into this movie to make the audience see what she sees.

Marty Supreme is breakneck, it’s nerve wracking and it is above all entertaining as all get out. It makes you eager to see what Chalamet’s going to do next.

It's the best kind of fairy tale — tough, deep and meaningful, with a heroine who stays true to herself in spite of shallow temptations.

The ending is stunning, a brilliant and forceful reclamation that doesn’t necessarily provide answers, but does provide hard-earned satisfaction.

There is not a frame of The Power of the Dog, based on the Thomas Savage novel, that isn’t essential to the movie. This includes the first and certainly the last.

Much of the film is inert, like a still life with dialogue. That’s not a detriment. That’s an invitation to see a movie whose beauty stays with you long after it ends.

The Artist is such an engaging, delightful film that, if you like movies, you will walk out of the theater with a smile. You just will; it's that inspired.

It’s a uniquely affecting experience, and a uniquely affecting film. Cameraperson shows us the power of image as a tool of recording life, but also finds reasons that even in the worst situations, it’s still worth living.

Kaufman and King somehow give felt puppets an independence they might otherwise have lacked. How? The magic of movies, I guess. Or, more likely, the magic of Kaufman’s mind.

Paddington 2 is a winsome confection. More than just a movie, it’s a necessary mood corrective, a temporary escape hatch from negativity. The world does indeed feel right in the company of this kind and polite little bear.

Lots of movies mix comedy and horror. But Armando Iannucci’s The Death of Stalin makes real-life horrors the source of hilarity — and it is hilarious — while never making light of the insanity that inspired it.

"Three Billboards" is a really good movie filled with terrific performances, but what McDormand is doing here surpasses them all.