Moore and Bening are superb actors here, evoking a marriage of more than 20 years, and all of its shadings and secrets, idealism and compromise.

These animals aren't catering to anyone in the audience. We get the feeling they're intensely leading their own lives without slowing down for ours.

What is finally clear: It doesn't matter a damn what your will says if you have $25 billion, and politicians and the establishment want it.

With Rolling Thunder Revue, Scorsese remains at the top of his game, and is the perfect filmmaker to tell the story of a unique chapter in the life and career of a fellow creative legend.

The best thing about Spider-Man: Homecoming is Spidey is still more of a kid than a man. Even with his budding superpowers, he still has the impatience, the awkwardness, the passion, the uncertainty and sometimes the dangerous ambition of a teenager still trying to figure out this world.

The film's title is appropriate. A desperate Catholicism flavors the doomed city.

The real subject of the film is Douglas Bruce sitting on two years of memories and told there is a 95 percent chance that another 30 years may return to him. A lot of people don't want to know when they're going to die. Maybe they wouldn't want to be reborn, either.

The violence in this movie is gruesome (a scene involving the disposal of bodies is particularly graphic). But the movie has many human qualities and contains what will be remembered as one of Pacino's finest scenes.

Above all, it contains characters I care for, played by actors I admire.

In Klute you don't have two attractive acting vacuums reciting speeches at each other. With Fonda and Sutherland, you have actors who understand and sympathize with their characters, and you have a vehicle worthy of that sort of intelligence. So the fact that the thriller stuff doesn't always work isn't so important.

Because it is attentive to these human elements, Ladder 49 draws from the action scenes instead of depending on them. Phoenix, Travolta, Barrett and the others are given characters with dimension, so that what happens depends on their decisions, not on the plot.

Unstrung Heroes has been directed by Diane Keaton with an unusual combination of sentiment and quirky eccentricity.

Oh, God! is lighthearted, satirical, and humorous and (that rarest of qualities) in good taste.

As 16 Shots so well documents, this was a seminal moment in Chicago history, as “just another justified police shooting” turned out to be anything but that.

Starting with Mick Jagger, rock concerts have become, for the performers, as much sporting events as musical and theatrical performances. Stop Making Sense understands that with great exuberance.

[Keaton and Nicholson] bring so much experience, knowledge and humor to their characters that the film works in ways the screenplay might not have even hoped for.

Davidson delivers a fully realized, nuanced performance, tackling dark comedy and raw drama with equal aplomb.

All four of the actors playing the brothers are standouts, with Zac Efron and Jeremy Allen White leading the way with some of the finest work of their respective careers. “The Iron Claw” isn’t an easy watch, but it’s one of the best films of the year.

As Sokurov examines a pivotal point in the Louvre’s history and gives us a virtual tour of the magnificent museum, he makes larger points about the vital importance of art throughout human history. This is one of the most beautiful films of the year.

This Netflix original from writer-director Jeremy Rush is one of the most gripping and entertaining action mysteries of the year.

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

The Forgiven holds us in its grips until the very last frame.

The thing about Funny People is that it's a real movie. That means carefully written dialogue and carefully placed supporting performances -- and it's ABOUT SOMETHING.

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

The effect is strange and delightful; somehow the style lends quasi-credibility to a story that is entirely preposterous.

An ingenious little horror film, so well made it's truly scary.

Even when The Family Fang stretches credulity, we stay with it. Bateman knows how to tell a story.

To be sure, Scorsese was occasionally too obvious, and the film has serious structural flaws, but nobody who loves movies believes a perfect one will ever be made. What we hope for instead are small gains on the fronts of hope, love, comedy and tragedy. It is possible that with more experience and maturity Scorsese will direct more polished, finished films--but this work, completed when he was 25, contains a frankness he may have diluted by then.