Beautiful, baffling, poetic, pretentious, it's one big ball of moviedom. Malick tackles the whole shooting match, pondering (and showing) the creation of the universe, life itself, death and the afterlife, and everything in between.

The way Park composes each frame is masterful. Sometimes the set-ups are intended to throw you off the scent of what’s happening, but wow, who cares when a film looks like this?

Exceptionally well made, tougher than you'd think in its depictions of a troubled marriage and full of deep performances — it's outstanding.

Engagement with the enemy isn't a possibility here. It's a certainty. The unit will face fire daily, sometimes as often as four or five times. The stress is incredible, the courage displayed even more so.

Neville, who won an Oscar for "20 Feet from Stardom," could have gone a different route, maybe try to dig up some dirt. But there really doesn't seem to be any. I don't know if it's Rogers' influence, but I like this film just the way it is.

Greenwood is fantastic; his Meek occasionally lets down his facade of omniscience - but only occasionally. And Williams gives Emily not dignity exactly, but a calm, steely insistence on survival.

It isn’t just a terrific movie. It’s an important one.

The Handmaiden is everything, in that it is a mystery, a graphically erotic romance, a black comedy and a little bit of a horror story. And, of course, really good.

Are You There God? It’s Me Margaret is a delightful film, just lovely.

It’s a sumptuous movie, with gorgeous cinematography (also by Dweck and Kershaw). It won’t necessarily make you want to rush out and pay a fortune for truffles to shave over your eggs. But it will make you appreciate people whose love for something has so fully informed their lives.

The story is infuriating — not in the way King presents it, not at all, but in its details. The manipulation of justice is heartbreaking. Though sadness isn't what you'll most likely feel while watching. Anger is. The betrayal in Judas and the Black Messiah extends far beyond the title character, making it an even greater tragedy.

Tarantino has always worn his love of cinema on his sleeve, fetishistic and in the form of homage. But here, that love is reverent.

Abe’s performance is compelling in the way it captures the gap between who Ryota has become and how he wants to see himself, and Japanese screen veteran Kirin Kiki gives a terrifically nuanced turns as his again mother, pulled between the disappointments of the past and a fierce determination to find joy in her present.

There isn't a false note among the performances. It's the first movie for Hayward and Gilman; whatever awkwardness they display is appropriate. Willis may never have been better. Norton is fantastic. Murray and McDormand are also ... well, you get the idea.

What’s most remarkable about the film, which was shot in Iraq, are the performances. The cast members are not actors. They’re non-professionals, at least, acting for the first time. Yet their performances feel so genuine, so lived-in.

Sinners is a fascinating movie, overflowing with creativity and bold ideas.

McQueen is an intriguing look at genius, its inspiration and ultimately its cost.

The pacing and writing are as smart as the film's title. Early moments are worth a chuckle, but the laugh-out-loud, top-shelf jokes happen when night falls.

Jude refuses to force a happy ending upon the audience. Things happen as they happen, and if one scene is especially hard to stomach, it leads to a kind of grim resolve to just keep forging ahead as best you can.

The “Toy Story” saga felt fully complete without it, which makes this a movie that doesn’t really need to exist, but whose existence doesn’t diminish the whole, either.

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.