Boyhood is not just a great movie, it's a landmark achievement in film.

It's one of the best movies of the year, one of the best entries ever in the Way We Live Now oeuvre.

Marielle Heller’s debut directorial effort is incisive and universal, despite its very specific and detailed setting.

In Too Late to Die Young, Chilean writer-director Dominga Sotomayor excavates details from her own memory to unlock a hidden bonus level of starkly original cinematic beauty. This spare coming-of-age story is a slow-burning stunner, despite hardly having a plot at all.

Occasionally you see a movie that just satisfies on all fronts — the performances, the direction, the whole package. Even less occasionally you see one that does all that and moves you, too. “The Worst Person in the World” is one of those.

Inside Out is terrific, a mind-bending concept turned into a brilliant film, a return to form for Pixar not just in terms of quality but in taking risks — risks that pay off.

In the end, “Tuesday” is all about learning how to say goodbye. It’s masterfully done. This movie will remain in my top three films of the year.

With “A Real Pain,” Jesse Eisenberg — who wrote, directed and stars in the film — pulls off a kind of magic trick. He’s made a movie with backdrops of pain and despair, both personal and existential, that is also funny, charming and something approaching uplifting. Ta-da!

Gosling is terrific, playing hangdog and irritable yet still managing to be someone you root for (even if you want to smack him in the head every now and then). Stone is even better. It’s her best performance, and that’s saying something. Their relationship, their chemistry, everything about it, and everything about La La Land is, well, magic.

Although the Pythons went on to make a number of movies, true fans will always have a special place in their hearts for Holy Grail, which is Python at its best. [14 Sept 2001, p.1P]

It’s delightful to see filmmakers and actors take such big swings. It’s even more delightful when they connect, and in Poor Things, they do.

The film is a sweet, funny and heartfelt look at friendship and strength.

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 a film that gets brilliantly to the truth of how and why we fall in love, and replicates that sensation — and the heartache that follows.

Moonlight is a minor miracle, a movie that mines beauty out of the ugliest situations, and a glimmer of hope from heartbreak.

The Zone of Interest, then, serves as a horror story about the past, and a cautionary tale for the present.

For a movie with such big emotions, it also feels grounded and realistic. Somehow, Cooper has made a Hollywood fairy tale seem utterly believable and magical at the same time.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

This is a wonderful movie.

50/50 is a tremendous movie. It's also a really funny one, which doesn't mean it won't make you cry.

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.

The Irishman is a great movie, easily one of the best of the year, one of the best of the great Martin Scorsese’s career.

A great movie, a look inside a world so foreign that it might as well be another planet, yet so universal that its observations are painfully familiar to anyone, anywhere.

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

What a great movie.

Thanks to the nicely layered characters and a near-perfect mix of action and merriment, the movie feels wonderfully vivid and alive.

A Hidden Life is less a story than an experience, a spiritual journey made accessible through light and sound. Malick doesn’t transcend cinema. He sanctifies it.

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.