It's a dark, dark comedy that ruthlessly skewers the news industry on a stake, then roasts it alive.

Perhaps the best thing that can be said about An American in Paris is that it led directly to the production of Singin' in the Rain. Without the former, there might not have been the latter. Gene Kelly remains one of the best and brightest of the Golden Era musical stars and An American in Paris shows him in fine form. The movie should be remembered for that quality rather than for its questionable Oscar triumph.

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

In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.

Although the first half still works – largely due to the performance of Anne Bancroft as the iconic Mrs. Robinson – the second half is a mess with only a couple of funny lines to recommend it.

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.

If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.

Despite its share of missteps (the most egregious of which unfortunately occurs late in the proceedings), Limbo is just weird and wonderful enough to earn a recommendation. What starts out as an exercise in absurdist and surreal comedy turns into a serious examination of the artificial boundaries that have been drawn to divide humanity in the name of nationalism.

Dancing along a line just shy of the edge of brilliance, In the Loop possesses an incisive, take-no-prisoners comedic style that offers plenty of solid laughs while making a point about the stupidity, selfishness, and lack of awareness that exists within the highest echelons of government.

Without becoming doctrinaire or espousing a particular religious ideology, Soul offers insight into the concept of death and the potential of an afterlife. It does this while maintaining a light tone and avoiding many of the obvious pitfalls that could accompany addressing such subject matter.

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.

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

As animated films go, this is easily the best of a weak year.

The Lighthouse is a riveting but decidedly non-mainstream horror film. Even if the ending is imperfect, I’d love to see more movies like this.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

Avatar is entertainment of the highest order. It's the best movie of 2009.

With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating.

This is a slice of life with an imperfect beginning and conclusion, but what transpires between those two endpoints is strong enough to leave an impression on anyone with the patience to commit to a movie of such unhurried temperament.

This is truly a movie that children and their parents can both enjoy for different reasons.

It's an unforgettable portrait of human anguish and the price that any society must pay when its best intentions go awry.

If Manhattan was only a romantic comedy, it would be a very good one, but the fact that the movie has so much more ambition than the "average" entry into the genre makes it an extraordinary example of the fusion of entertainment and art. This is Allen in peak form, deftly mastering and combining the diverse threads of romance, drama, and comedy - and all against a black-and-white backdrop that makes us wonder why color is such a coveted characteristic in modern motion pictures.

Although Drag Me to Hell mostly fails as horror, it achieves sporadic success as a comedy.

Reitman brings the same mixture of comedy and drama to this movie that he brought to "Juno."

Milk feels like an important picture, but not in a way that makes it tedious to watch. There's no pretentious sheen to the proceedings.

Light entertainment, this is not. Unforgettable and challenging cinema, it is.

From Russia with Love is among the most tightly-plotted of all the Bond films, and, as a result, is one of the shortest. It moves briskly, blending intrigue, romance, and action into an immensely satisfying whole.

Although not a word of what Powers wrote is based on reality (at least insofar as the dialogue is concerned – and this movie is all about the dialogue), it’s nevertheless a fascinating exploration of the kinds of things these four individuals might have discussed.

Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.

As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.

For those who have the patience to become absorbed in this kind of drama, Vera Drake offers a stunningly real character portrait whose image will linger long after the movie has faded.

When movies address fertility problems – something they rarely do in the first place – it’s usually with something less than the honesty on display in Private Life.

BlacKkKlansman comes across as equally entertaining and disturbing, which is most likely what Lee intended.

Although not without its merits, it’s far from a standout even when one considers how lackluster the current indie/art house landscape has become.

It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.

Although prone to occasional sermonizing, The Post offers a stirring reminder of the importance of these kinds of unsung heroes in protecting the American way of life.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Superman II delivers on the promise hinted at in "Superman." Which is the better film? That's a hard choice to make, since both succeed in different ways.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

The Sting represents one of the most popular, widely-loved films to win Best Picture in the last half-century and an example of grand entertainment.

Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.

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.

While Palm Springs doesn’t stray too far from the idea introduced by "Groundhog Day," it’s the first derivative film to be more deserving of a commendation than derision. Or, to put another way, it feels more like an homage than a rip-off.

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.

In the end, the real problem with the Demon Barber of Fleet Street is that he's not as bloody fun as he should be.

The real wreckage in Locke is to the main character's old life, and the manner in which it is depicted makes this one of the year's most intriguing motion pictures.

In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.

The movie does everything LARGE, whether it’s an action sequence or an emotional connection. By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.

Election has the sharpest satire of any teen movie made in years. Like the best lampoons, it attacks by exaggerating reality ever-so-slightly and targeting a broad range of subjects.

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.

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.

Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.

It’s an adorable confection – light, airy, and largely without substance.

This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.

Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.

Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.

Truly a tale for our time.

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.

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.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Despite never previously having made a feature film, Stolevski’s sure-handed approach delivers a winner. He takes chances, doesn’t underestimate his audience, and tells a story worth telling.

The sophomore feature effort from director Destin Cretton (remaking and expanding upon his 2008 short), this movie avoids the numerous landmines awaiting someone venturing into this territory and, as a result, emerges triumphant.

By employing nostalgia but not relying exclusively on its effects, the filmmakers are able to tell the story of how the program started with details that may surprise all but the most knowledgeable of fans.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]

Passionate and magical, Forrest Gump is a tonic for the weary of spirit.

The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

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.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.

It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true.

Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.

Despite being a low-key production, La Promesse speaks volumes about how we treat other human beings and what it means to truly grow up.

There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.

Downfall and Bruno Ganz are deserving of Oscars they will not get.

It’s exceptional escapist entertainment for those who don’t mind a little spice sprinkled into their cozy mystery.

The Spectacular Now's DNA contains elements of the John Hughes teen dramadies of the '80s. There's also a little Cameron Crowe - in fact, replace the soundtrack with something more dynamic and it might be easy to mistake this with a Crowe film.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

In some ways, it's a simple character drama, but the central conundrum disallows an uncomplicated interpretation. I was never bored.

he Celebration rips apart the placid facade of a familiar subject, leaving its audience stunned. As difficult as the film can at times be, the patient viewer will be rewarded.

Whether it works as a traditional motion picture is up for debate. However, it’s short enough (about 90 minutes) that it never overstays its welcome and is generally a fun, wild ride, even though it may at times be difficult to figure out where the journey began and where, as the 1964 Chevy leaves the streets like Doc’s DeLorean in Back to the Future, it ends.

Despite all its flaws, Challengers represents watchable high-end soap opera material. The story is undercooked but the dialogue contains some nice zingers and the actors are wholly invested.

Screenwriter Aaron Sorkin and director Danny Boyle aren’t interested in offering another re-enactment of the truth-is-stranger-than-fiction story. They have something more ambitious in mind. Their goal is to illustrate the tyranny of genius and how a “great mind” doesn’t always mean a “great person.”

Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this.

Although aspects of the overall storyline wallow in familiarity, the sharpness of the writing, the precision of Giamatti’s portrayal, and the well-honed relationships among the principals make the movie better than one might assume from a one or two-sentence summation.

Sound of Metal tells a story about coping and overcoming while avoiding the narrative pitfall of artifice.

Is Lee preaching to the choir? Perhaps but those not already in the fold who give the film a chance may discover that the things Lee is saying are hard to disagree with regardless of your race, creed, or color.

It’s a rom-com where one of the participants is the self-described “last black man” and the other is a house.

With a running length of 30 or 40 minutes, Isle of Dogs might have been brilliant. Unfortunately, this concept, although suitable for a short, is too thin for a full animated feature.

Unlike in many character studies, the plot is more than just a simple framework. It is complex and unpredictable, and, as a result, provides the perfect means to better get to know the characters and understand the shifting nature of their relationship.