McNamara has a reputation for being intelligent and belligerent. The Fog of War validates the former characteristic, but not necessarily the latter.

Balances character development with plot, and that's crucial to its success.

I wouldn't go so far as to classify Jacob's Ladder as a masterpiece, but it is smart and compelling and unquestionably worth a first or second look.

It gets under the skin and into the mind and does what good psychological horror does best: leaves the viewer unsettled and perhaps a little shaken even after the end credits roll and the lights turn back on.

A compelling contemporary thriller with the added benefit of also being an engrossing character study.

Fresh takes the setting and tone of Boyz 'N the Hood and Menace II Society and applies it to a thriller. Gone is the documentary-like quality of filmmaking as well as the gritty sense of immediacy. Fresh uses higher-quality film stock and a more traditional cinematographic style to distance the audience ever-so-slightly from the characters. This way, it's easier to appreciate the complexity of Michael's plan and the manner in which he arranges his masterful scheme of manipulation.

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

Still Alice is undoubtedly a tough movie; it contains life-affirming moments but its perspective is what makes it unique.

Origin offers the best of both worlds: a well-developed story with a three-dimensional lead character who grows over the course of the movie and an intellectually satisfying element folded into the screenplay.

The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.

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.

Lincoln paints a powerful and compelling portrait of the man who has become an icon. We don't need to see more of his life to understand how rare a figure he was - this window is more than sufficient.

Viewed from a purely narrative perspective, Castle in the Sky is a fun, engaging two hours. Miyazaki knows how to keep things moving without belaboring certain scenes. He doesn’t speak down to his audience and isn’t afraid to mix in exposition with action.

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

Nobody's Fool is about as sublime a motion picture as is likely to come out of Hollywood. With a structure that contravenes the norm, this film concentrates on character first, letting the plot fall naturally into place. Situations are forced on neither the film's inhabitants nor on those in the audience.

One of the most uplifting and delightful films to have come along this year.

Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

Sunrise is often rightfully noted for its technical achievements but what is often overlooked is its emotional power.

Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.

Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.

Visually, it's more impressive than Disney's “Toy Story.”

The brilliance of Bennett's movie is that it concentrates on the characters and their interaction and never becomes a mouthpiece for one side or the other with respect to the death penalty.

It’s hard to come away from this film and not believe that, in his heart, writer/director del Toro is a romantic.

The Madness of King George is much more than a simple study of one man's descent into insanity. With a style that's more tongue-in-cheek than melodramatic, the film is always witty and occasionally satirical. The characterizations are flawless (as well as historically accurate), and the political wrangling of the Tories and Whigs (led by PM Pitt and Charles Fox, respectively) provide a deliciously complex backdrop.

Recognizing that many of the movie's elements are lifted from actual events elevates the importance of what the movie has to say.

Like Kore-eda’s previous masterpiece, "Like Father Like Son," the movie uses a domestic drama to illustrate larger and more compelling concerns about society in general.

As an elegy to a perfect fusion of directorial mastery and an actor’s indomitable screen presence, it’s hard to imagine something more memorable and affecting than Red Beard.

There's no doubt that it's a flawed movie, but it's one of the most wonderfully entertaining flawed movies made.

In today's environment, it's a rare thing to find a movie with interesting characters in dense, intelligent storylines, but that's what Syriana offers. It is one of the best films of 2005.

There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature. The Lion King is primarily about guilt and redemption.

Talk about taking things to a new level… Theaters showing Fury Road should have seat belts installed.

Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.

Weapons is a step up for writer/director Zach Cregger from his promising horror debut, Barbarian – funnier, more unsettling, and ultimately more satisfying when taken as a whole.

Brothers is arguably the most successful remake of a foreign film since Martin Scorsese reworked "Infernal Affairs" into "The Departed" and won the Oscar.

Tootsie works for three reasons: a sharp screenplay, good comic timing, and delightful performances.

Despite regurgitating elements from the founding trilogy, Jason Bourne represents the best the series has yet offered.

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

The movie is not realistic, but the strong element of fantasy doesn't limit its ability to captivate and intrigue. That's because the characters and their relationship rise to the top and arrest our attention from beginning to end.

Woody Allen is rarely a big commercial draw, and whether his off-screen antics will boost his box-office take remains to be seen, but Manhattan Murder Mystery may be his most accessible film since Hannah and Her Sisters. This movie is still pure Allen, but the humor is broad-based, and the "quirkiness" often associated with the director is kept to a minimum. Frankly, it's been years since I've enjoyed the director's work this much.

Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

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

Has enough genuine laughs to eliminate the potential twitters and snickers, and it treats Edward and Lee as people. We end up caring about what happens to these two individuals, even as we smile and laugh at their antics.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

The cast is remarkable. Five of the seven principal cast members own previous Oscar nominations.

What a horror film SHOULD be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact.

A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.

As with most slow-burn neo-noir movies, Sweet Virginia thrives on atmosphere. It oozes it from every frame.

Captain Phillips works precisely because Hanks isn't a muscle-bound, gun-toting figure (nor does he turn into one during the course of the movie). Placed in an untenable position, he uses guile and intelligence instead of brawn and weapons to enhance his survival chances.

More substantive than the average thriller/road movie.

A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.

It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]

The production values, like the acting, are of the highest standard and the movie stands up well even by 21st century standards.

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.

The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.

As much a tale of the patriarchal suffocation of those who break from outdated conventions as it is a love story, the film gains much of its traction as a result of the performance of Kate Winslet, whose nonverbal acting represents one of the finest portrayals of her career.

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.

By mixing slapstick humor, outright silliness, and a psychedelic edge, Doff trades tension for laughs. He also has a political point to make about class divisions and the haves-and-have-nots.

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.

This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.

Those in search of escapism should not look to this motion picture, but anyone willing to assume the risk of facing the ugliness of Johnny's world will find a startling, gut-wrenching, eye-opening experience.

The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.

Leave No Trace is one of the most moving motion pictures thus far of 2018 and it achieves its power without resorting to the overt manipulation favored by many movies.

Lambert’s three-dimensionality elevates Wind River above the norms of the traditional crime movie so that, in addition to delivering the expected tropes, it provides a richer, more fulfilling experience.

In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.

An affecting and endearing collaboration between Miyazaki and Kondo, it weds a coming-of-age story with a flight of fancy to good effect. Although often overshadowed by more popular titles in the Studio Ghibli catalog, this is as deserving as any 1990s Japanese animated film to be seen and enjoyed.

Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.

Taken on its own, Saving Mr. Banks is a pleasant, crowd-pleasing endeavor. For those with a soft spot for Mary Poppins, however, it's a treasure.

Although most movies favor passion and true love, The Umbrellas of Cherbourg shows that another less demanding, more subtle kind of love has its own appeal.

The hiccups resulting from the back-and-forth switches between two disconnected stories are no more than a minor irritant when one considers the wider scope. In making this film, Clooney has accomplished something rare and unusual in today’s cinema – an epic science fiction motion picture that focuses on characters and ideas.

De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.

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.

Nothing can take away from the strength of Gable and Colbert's performances, the illusion of romance in their interaction, and Capra's deftness in crafting this kind of feel-good narrative. The screwball comedy elements work as effectively as the love story, which is a rarity for romantic comedies.

This is a feel-good tale through-and-through yet, because of the aesthetic and setting, it doesn’t feel cloying and artificial. And, perhaps most importantly, it earns the modest ending.

As rich in emotional impact as in style, this motion picture sets a high standard that we as viewers can only hope the other two chapters of the trilogy will match.

Ma Rainey’s Black Bottom is a small film with big ideas, bigger speeches, and two towering performances.

Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.

At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.

The most visually inventive comic book adaptation to make its way to a movie screen.

The movie has a magnetic quality that’s all the more welcome because of all the weighty issues forming its foundation. It’s a tremendous debut effort for Hall, whose work seems more like that of a seasoned veteran than a first-timer.

Despite some minor issues in presenting and pursuing the time travel episodes, My Old Ass rarely missteps and that will likely earn it a place on my end-of-the-year Top 10.

From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.

This is a hard, challenging motion picture. It demands much from the audience, and repays that investment with powerful, engrossing drama that does not offer insulting, facile answers. House of Sand and Fog is gripping and unforgettable, one of the best movies of 2003.

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

When I say that Parker is a master manipulator, that’s meant as a compliment of the highest order. He gets us into this story and puts us unequivocally behind Nat.

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

The resulting script offers the seriousness one anticipates from McQueen and the switchbacks and turns one expects from Flynn.

Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.

The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.

Overall, while Spirited Away may not be as complex and imaginative as "Princess Mononoke" in some areas, it is as beautifully rendered and no less sophisticated in its outlook. Miyazaki has provided another triumph, and, in the midst of the quality fall-off of Disney’s in-house animated projects, a reason for animation-lovers to rejoice.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

Gives life and meaning to an event that is little more than a footnote in history books (if that).

Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

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.

It employs the power of tragedy to enrich.