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.