Skyfall triumphantly reinvents 007 in one of the best Bonds ever. This is a full-blooded, joyous, intelligent celebration of a beloved cultural icon, with Daniel Craig taking full possession of a role he previously played unconvincingly. I don't know what I expected in Bond No. 23, but certainly not an experience this invigorating.

A slice-of-life film like you have not seen. It is the story of people in a small ordinary town, knowing nothing but their ordinary affairs, revealing their sins and crimes with an ordinary negligence.

Directors Tia Lessin and Emma Pildes do nomination-worthy work in telling the story of what women had to endure in the years immediately preceding Roe v. Wade — and how one group of smart, independent, determined, resourceful and brave women in Chicago created an underground network to facilitate illegal but safe abortions for literally thousands of individuals from 1968-1973.

Here is a film so placid and filled with sweetness that watching it is like listening to soothing music.

If I were choosing a director to make a film about the end of the world, von Trier the gloomy Dane might be my first choice. The only other name that comes to mind is Werner Herzog's. Both understand that at such a time silly little romantic subplots take on a vast irrelevance.

There’s joy in watching a movie like You, the Living. It is flawless in what it does, and we have no idea what that is. It’s in sympathy with its characters. It shares their sorrow, and yet is amused that each thinks his suffering is unique.

[A] comprehensive and expertly rendered documentary.

A romance, a thriller, and a science-fiction drama, Upstream Color tantalizes viewers with an open-ended narrative about overcoming personal loss.

The friendship that develops between Ricky and Hec is priceless; they are each other’s salvation, whether they realize it or not.

Boorman's film is shot in wide-screen black and white, and as it often does, black and white emphasizes the characters and the story, instead of setting them awash in atmosphere. And Boorman's narrative style has a nice offhand feel about it.

The film is more violent, less cute than the others, but the action is not the mindless destruction of a video game; it has purpose, shape and style.

In its closing scenes, Hell and Back Again builds to an emotional and stylistic power that we didn't see coming.

The beauty of the film is in its quietness.

The Hate U Give is indeed a message movie, and yes, there are a few times when certain characters come close to becoming caricatures. But those are minor drawbacks to a story filled with immediacy and urgency but also so much heart and soul.

Just plain fun. Or maybe not so plain. There's a lot of craft and slyness lurking beneath the circa-1960s goofiness.

The movie is a dazzling song and dance extravaganza, with just enough words to support the music and allow everyone to catch their breath between songs.

A magnificent entertainment. It is like the flowering of all the possibilities in the original classic film.

The result is a genuinely fascinating film, one that may tell more about MGM musicals, and aspects of American society, than a film devoted to still more highlights from musical numbers that did make their way into films.

The film doesn't tell a story in any conventional sense. It tells of feelings. At certain moments we are not sure exactly what is being said or signified, but by the end we understand everything that happened - not in an intellectual way, but in an emotional way.

Goodnight Mommy is the kind of movie you should experience without watching the trailer or learning too much about it — and then experience again with the full knowledge of what happened, so you can admire the ways in which the puzzle was put together.

Glass Onion doesn’t have quite the zest and freshness of the original, and there are times when it’s a little too self-pleased with the social commentary and the meta references, but thanks to Johnson’s crackling good dialogue, the impressive production design and the sparkling performances from Craig and a whole new cast of possible suspects and/or murder victims, this is a whip-smart, consistently funny and sure to be crowd-pleasing affair.

Owen Wilson is a key to the movie's appeal. He makes Gil so sincere, so enthusiastic.

The cloak-and-dagger stuff with the appropriately named Grace is reminiscent of a mid-20th century Cold War film. Director McQuarrie and his team are experts at staging these types of sequences.

These opening scenes of Love and Death on Long Island are funny and touching, and Hurt brings a dignity to Giles De'Ath that transcends any snickering amusement at his infatuation.

She Dies Tomorrow is a well-crafted, beautifully acted, minimalist gem for our times.

Throughout, Bill Nighy carries the film effortlessly on his slender shoulders, reminding us of why he’s an international treasure.

A joyous movie.

The cast is amazing, from the great duo of Frost and Pegg to the supporting players, many of whom are better known for taking on heavy dramatic fare. The editing, special effects and set design — a joy to experience.