Some documentaries are a fervent search for truth; others are a fervent search for snickers. This one is the latter, providing via interviews and old film clips a Greatest Hits for Bush haters.

More than a thriller, Phoenix is a ghost story, made plain in an extraordinary shot of Nelly’s terror at a passing train.

The role of William is a perfect fit for Red West, a well-weathered member of Elvis Presley's Memphis Mafia who has served as a bodyguard as well as a stuntman and bit-part actor.

Mostly it's worth seeing Alien, which established Scott as an A-list director, in a theater because his brilliant and often expansive visuals have always worked better on a big screen than on video.

Literally the kind of movie they just don't make anymore, Michel Hazanavicius' French-sponsored charmer The Artist is a gorgeous black-and-white love letter to silent Hollywood with old-fashioned English intertitles and just a single line of audible (English) dialogue.

Taken together, Eastwood's masterworks - two of the best films of 2006 - may be Hollywood's last word on World War II.

There’s something strange and dreamlike and delicate and beautiful about Anomalisa, an animated film for grown-ups that takes a long while to make its point, but does so with a dark brilliance.

Veteran French star Michel Piccoli is superb as an aging actor named Gilbert Valence.

It’s a perfect flick for families, but also a jolly time for anyone with a pulse.

May not have the starry casts of the Coens' more recent films, but it has plenty of heart and soul.

A remarkably assured feature debut by Bennett Miller, a longtime director of commercials (and the documentary "The Cruise") whose no-frills style trusts that the powerful material and the uniformly excellent performances need little embellishment.

The acting and story are solid, but the real star of Tulpan is the gorgeous, never-ending landscape -- flat and arid, and home to camels, goats and lambs, and hearty people who live in tentlike yurts.

This rural drama is the best yet from playwright and filmmaker Martin McDonagh (“In Bruges,” “Seven Psychopaths”), and one of Frances McDormand’s greatest performances.

Extremely unsettling and thought- provoking.

“GBH” is a featherweight screwball comedy that, trying mightily to be cosmopolitan, feels awfully provincial, desperately touristy.

Beautiful to look at, with its burnished interiors and magnificent Turkish steppes, this long film builds to a powerful conclusion. Ceylan’s characters grind each other to a powder while hardly raising their voices.

Most thrilling are the stage sequences. Cooper often films Ally’s thousands of screaming fans from her point of view — putting us in her lucky shoes for a minute...It’s that feeling of exhilaration that makes A Star Is Born the best film of the year so far.

Looks great but moves like molasses, is more interesting than truly involving.

Julie Christie is simply astounding as a woman slipping into the ravages of Alzheimer's in Sarah Polley's deeply affecting and artfully crafted Away From Her.

Hamilton the film is just OK.

Mafioso starts out as a comedy of manners before turning into a mob thriller that brings Nino to Bergen County, N.J. When he gets there, look for a man reading The Post on a street corner.

Keeping logical track of all the comings and goings is like trying to focus on a single bird in a flock. The details, names and faces blur a little more every time a character rounds a corner, just as they would for the ailing Anthony. With its narrative boldness, however, The Father never stirs or fully satiates.

Name names, please. Or shut up.

It is not only an amazing technical accomplishment, it's also the wittiest and best-voiced animated movie to come along in years.

Old-school filmmaking at its best.

A desperado drama wrapped around a Bernie Sanders campaign speech, Hell or High Water overcomes its vapid political leanings with loads of West Texas atmosphere, smart dialogue and acutely observed relationships.

An exquisite work of cinematic art that also happens to be the funniest, most touching, most exciting and most entertaining movie released so far this year.

This freaky fairy-tale world is really a playground for Stone, whose willingness to be foolish and risky is a breath of fresh air amid all the polite Oscar-bait turns we’re handed this time of year.