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.

The post-World War II cinematic landscape is littered with big-budget movies about the conflict and the toll it took upon those who participated. Some of those pictures have become timeless classics and some are nearly forgotten. Few, if any, are as simultaneously thrilling, awe-inspiring, and tragic as The Bridge on the River Kwai

Although not without moments of sadness and tragedy, Brooklyn is sublimely uplifting and life affirming.

Like its predecessor, The Two Towers is a great motion picture, and not to be missed by anyone who appreciates fantasy adventure.

The film’s ensemble cast provides a case study in unforced, emotionally powerful acting.

The movie is punctuated by comedy that at times verges on slapstick but there's an underlying anger in evidence - anger at the popular mindset that allows movies like "Transformers" to flourish while artistic endeavors fail.

This tale of four independent sisters of differing temperaments is undeniably melodramatic, but it's very good melodrama, with an accumulation of vitality and charm that elevates the movie to an unexpectedly high level.

This is unbelievably rich material, and I can say without reservation that Scott Hicks' work deserves the highest recognition. Shine truly does what its name says.

It’s the best performance of McCarthy’s career, topping the one she gave in "St. Vincent."

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.

Arguably the best motion picture ever made about the process of creation and the creator.

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.

Although perhaps a little too long and not as tightly plotted as Rogue Nation, Fallout offers everything a viewer could reasonably expect from a Mission: Impossible production. It’s reliable.

Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.

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!"

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

The first is the best. When it comes to this kind of thriller, no movie has been able to top Jaws, although many have tried. And, as the years go by, it seems increasingly unlikely that anything will come close.

Moody, introspective, and meditative, Nomadland makes up for its meandering, sometimes maddeningly slow pace with its insights about human nature and its incisive portrait of indomitability.

One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.

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.

The film is unusual not so much because of its content - the man vs. nature story has always been a popular one, whether in print or on film - but in its restraint. Putting an actor, even an accomplished one such as Redford, alone on screen for more than 90 minutes is a risk.

The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling.

First-time director Ari Aster hits a home run when it comes to an overall sense of impending doom. Sadly, Aster’s story isn’t as waterproof as his stylistic aptitude.

"Innovative" is not a legitimate description of The Fugitive, but "entertaining" is.

Disturbing. It is impossible to sit through Maria Full of Grace and not be affected by the circumstances of the characters. For that, the credit must go to Marston and his actors.

Not a great film, but it's an excuse to have an evening of pure enjoyment with a little culture painlessly mixed in.

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

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.