The tale related here isn't all that original, but the honest presentation lends impact to a wrenching scenario.

Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

It Follows doesn't try to get viewers to jump out of their seats. Instead, employing the time-honored technique of the "slow build", it pressures fingernails to dig into arm rests.

With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

This is a fun motion picture on all levels, and, while it doesn't quite measure up to the standard established by Beauty, it's still one of the year's best bets for pure entertainment.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

All movies have a perspective. The one presented in The Hate U Give is measured but unmistakable. The film is incisive; its manipulation is covert and strategic, engendering feeling without seeming intrusive.

When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

Don’t be fooled by the PG-13 rating – A Quiet Place has an adult aesthetic and younger viewers may be unprepared for its unconventional style and unrelenting intensity.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.

With its rare mixture of intelligent plotting, flawless acting, and start-to- finish tension, Copycat is a force to be reckoned with.

Despite its various deficiencies and occasionally antiquated style, King Kong remains not only a milestone of movie-making, but a magical experience.

Nebraska is a rambling affair. It's about characters and dialogue. There's not much of a narrative to speak of - this is even more minimalist than "About Schmidt" or "Sideways."

As is often the case with European films, the acting is superlative...The real standout, however, is newcomer Jaye Davidson, whose performance is, without exaggeration, stunning...Not to be missed.

It's a noteworthy achievement for director Damien Chazelle to infuse a tale about the development of a musician with all the tension and intensity of a top-notch thriller. Whiplash is riveting.

They Shall Not Grow Old isn’t just a compelling motion picture; it’s an important slice of cinema.

Stalag 17, despite often being labeled as one of Wilder's "lesser" films, is a bona fide classic, and an example of how an accomplished director can meld many elements into a workable whole.

Good, solid entertainment.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

The Northman is gripping cinema of the sort that we get too little of today, when too often a director’s vision is diluted by box office imperatives and the lure of four-quadrant appeal.

Cinematic magic.

Goldfinger is studded with moments that have since become deeply embedded in the Bond mythos. John Barry's opening song (sung by Shirley Bassey) is among the series' best. Snippets of dialogue have attained an almost-legendary status, such as the exchange when Goldfinger is about to emasculate 007 with a laser. "Do you expect me to talk?" asks Bond. The response is succinct: "No, Mr. Bond, I expect you to die!"

The Wings of the Dove is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

Whether on stage or on film, The Crucible is a powerful, thought-provoking production. This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact. By re-interpreting this classic so effectively, Hytner has assured that at least one version of "The Crucible" will become a part of film history.

The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.

With its striking images, pervasive atmosphere, and incessant sense of dread, Nosferatu leaves an impression that proves hard to shake.

This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.

You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.

One of the reasons that Quiz Show is so extraordinary is because it spins a story as compelling on the personal level as on the national one.

Once Were Warriors works, to some degree, on three levels: the visceral, the emotional, and the intellectual, and it is the amalgamation of these that makes this a memorable film.

Not since "The Crying Game" has Jordan crafted as compelling a motion picture.

Using gallows humor, likable protagonists, and a variety of nonstandard filmmaking techniques (like having characters address the audience directly), McKay maintains a high level of energy for more than two hours and dares us to become bored.

This is the closest Marvel has come to making a stand-alone tale in many years. Even Doctor Strange felt more connected to the larger MCU.

This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

Tells a good, intelligent story that keeps us interested and involved.

Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.

This is a vital, original, and emotionally potent chapter to one of the longest-running movie series out there. It will easily be one of the summer of 2017’s best films and, at the end of the year, it will likely find a space on many respectable Top 10 lists.

Coogler provides enough rousing moments to get the adrenaline pumping - there are times when the urge to jump up and cheer is almost too strong to resist. But there's more to Creed and it is elevated by the quiet, subtle elements.

One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.

It's an uncompromising movie that illustrates one of the most convincing personality transformations that I have seen in a recent motion picture.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

The best film of The Hobbit's three, this final installment is closer in quality to "The Lord of the Rings" than to its immediate predecessors.

Lucas manages to be touching, sad, thoughtful, funny, and joyous - it's a nearly-perfect portrait of the incredible highs and lows that accompany the high school journey of a square peg who doesn't fit into a round hole.

In the end, however, the genius behind all the innovations of Bletchley was destroyed by the pettiness of a society that didn't understand him. The Imitation Game doesn't hide this dark aspect and it makes the production sobering and engrossing.

Tar isn’t based on a true story but it possesses an emotional and intellectual honesty that makes it seem more real than countless made-for-mass-consumption biopics.

Consistently hits the right notes, earning both the tears and smiles that result.

The Father is an excellent movie but it’s not a lot of fun to watch, especially for those with first-hand experience in this area.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

Eye in the Sky reminded me of "United 93" - not necessarily in terms of the subject matter but because of the apolitical, clear-headed manner in which it approaches an act.

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.

Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

It features a great performance by Domingo but, in some ways the less showy contributions of the former real-life inmates represent the best Sing Sing has to offer. The movie is touching and uplifting in often unexpected ways.

The beating heart of Never Rarely Sometimes Always isn’t Autumn’s struggle with terminating her pregnancy; it’s the way the two girls discover companionship and the strength it offers.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

There's nothing new or unique about the story, but it is presented in a manner that reinforces its immediacy and impact.

Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”

Isn't just fine family entertainment, it's superior family entertainment.

This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

The film is notable for continuing to expand the corporation’s reach into different cultures while displaying a welcome maturation of animation beyond the conventional American standard into something that, although no less family-friendly, is thought-provoking and stimulating.

While much of the archival footage presented in The Last Days is new, the substance is familiar. These are the kinds of images that no Holocaust film can ignore, because they drive home the horror of what transpired five decades ago, half a world away.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

Maborosi is a worthwhile movie experience not because it ventures into virgin territory, but because its presentation is so precise and unique.

A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.

The compelling reason to see it in a multiplex, however, isn’t so much the advantage of a larger screen as it is the absence of commercial breaks. The full impact of the movie relies on the gradual building of momentum and any kind of interruption could break the spell.

If there's anything disgusting or grotesque that The Cook, the Thief, His Wife, and Her Lover doesn't dabble in, I'm at a loss to figure out what it is. This film, a wildly exuberant, bitingly satirical examination of excess, bad taste, and great acting, is the kind of over-the-top experience that will have timid movie-goers running (not just walking) for the exits. Taboos? If director Peter Greenaway has any, you can't tell by this film.

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.

This is one of the year's most unabashed and powerful love stories, using flawless performances, intelligent dialogue, crisp camera work, and loaded glances to attain a level of eroticism and emotional connection that many similar films miss.

It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

The result is a sharp, insightful, charming motion picture.

Watching The Life of Chuck, I was inspired to remember how wonderful it can be to find a movie that offers the thrill of discovery and the comfort of real emotions. That’s such a rare combination these days and when a film unlocks the secret, it deserves to be seen and lauded for the accomplishment.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

Living offers restrained optimism leavened with enough cynicism to win over those who might be less enamored of something more artificial. It’s one of the year’s best films.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

A delightfully dark comedy that, despite a cynical bent, offers viewers a good time.

A compelling, thought-provoking, and unsettling drama.

One of the best thrillers I have seen this year: tight, taut, and unpredictable.

The richness of its tapestry, densely woven from human emotions and character interaction, ensure it will never lose that relevance.

Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.