What can I tell you? It works. Private Parts is a comic firecracker with a surprising human touch.

It's a swooning new classic and one of the very best films of the year.

Martin Scorsese scores again with his gritty, kinetic adaptation of Nicolas Pileggi's best-selling "Wiseguy."

Bo Burnham’s story about a 14-year-old misfit is one of the funniest, saddest and most heartfelt teen movies ever.

With Apocalypse Now Redux — one for the ages when it comes to the moral battles of war — Coppola has reached the finish line at last. It smells like victory.

What makes La La Land such a hot miracle is how the passion for cinema and its possibilities radiates from every frame.

With it's dynamite performances, strafing wit and dramatic provocation, The Insider offers Mann at his best -- blood up, unsanitized and unbowed.

If a thing of beauty is a joy forever, as John Keats famously said, then the surpassing loveliness and bracing brilliance of Alfonso Cuarón’s Roma will never pass into nothingness.

A rapturous masterwork.

McDonagh also wants to give his actors a hell of a showcase, too, and it’s the two stars butting brows at the center of The Banshees of Inisherin that make this a masterpiece of men behaving very feckin’ badly.

Not since Lawrence of Arabia has there been a serious historical movie of this sweep, complexity and intelligence.

The movie feels at times like a miracle — not least for what it does not do. McQueen’s ability to render a universe of incident and emotion out of granular details, sounds and visions that feel specific and fully lived, should not surprise us at this point in the career. This is a director whose work has long displayed an ability, and a fascinating eagerness to display, the power of dramatic tangents and uncanny effects of sound and image.

You know how some costume epics can be such a bloody bore? Not The Favourite. It’s a bawdy, brilliant triumph, directed by Greek auteur Yorgos Lanthimos with all the artistic reach and renegade deviltry he brought to Dogtooth (2009), The Lobster (2015) and The Killing of a Sacred Deer (2017).

As ever, Freeman delivers miracles; he's as good as it gets.

This volcanically funny and seriously scary look at America's obsession with guns is meant to shake us up good. And it does.

A movie that liberates your tears and makes you fall in love with it. It is almost assuredly predestined to be the single best movie you see this year.

The pleasure of this unique film comes in watching superb actors dine on Mamet's pungent language like the feast it is.

Gosford Park abounds in scenes to savor. It's a feast, and one of Altman's best.

Good One is, among its infinite attributes, an ode to a style of filmmaking that appears to be humble, yet still manages to be devastating and humanistic to its very core. Mostly, it’s just a great f*cking movie, full stop.

But Stone has found in Cruise the ideal actor to anchor the movie with simplicity and strength. Together they do more than show what happened to Kovic. Their fervent, consistently gripping film shows why it still urgently matters.

Besides the in jokes, the animation and the Alan Menken score supply enough glorious entertainment to hold even brats and cynics in thrall.

Volver is Almodovar's passionate tribute to the community of women -- living and dead -- who nurtured him. Through the transformative power of his art -- carried on the wings of Alberto Iglesias' exhilarating score -- we feel their presence. You do not want to miss this one.

What the filmmaker and his collaborators have given us is something truly special: a radical work of art that channels a tsunami of radical empathy. And it couldn’t feel more necessary or vital at this moment in time.

In its sprawling attempt to partially wrap its arms around the Great-Step-Backward Age we find ourselves in, One Battle After Another shares a slight kinship with another shoot-the-moon auteur work of recent vintage: Eddington. Ari Aster’s film stared directly into the abyss and, shuddering, worried about how we could or should fight back. Anderson’s humanistic masterpiece of a movie says: You fight it with love. That’s the end game. That’s how you retain your decency and sanity. That’s the only way you protect the future, and change it. That’s how you live to battle another day.

Recoing gives a performance that won't soon be forgotten. Neither will Time Out. It's a great movie.

Here is the jaw-dropping, eye-popping, heart-stopping movie epic we've been waiting for all year.

This is what the work of a visionary filmmaker looks like. Forget the new flesh. Long live the old Cronenberg.

Planes, Trains and Automobiles is the ultimate Thanksgiving film: John Hughes understood that it's all about the buildup. No matter if your journey is filled with near-death experiences, cars going up in flames, punches to the face and other disasters – getting to enjoy Thanksgiving with family and friends make the odyssey worth it. Everything else is just turkey.