The exquisitely wrought tale of four British women of different backgrounds who rent a villa in Portofino, Italy, is delivered with a witty feminist twist by director Mike Newell (Dance With a Stranger) and an outstanding cast.

While Barbarian‘s unexpected popularity outside of die-hard genre circles can be attributed to old-fashioned, organic word of mouth, it’s also a first-rate horror movie, full stop.

Tracks is an exhilarating adventure that opens up an unknown world to most of us and does it so well that we feel we're living it too.

One of the best movies of the year--startling, innovative, hugely funny and powerfully, courageously moving.

Some might qualify If I Had Legs I’d Kick You as a comedy, albeit one brimming with barely contained rage, while others might describe as a horror movie. Either way, it’s the kind of film that makes you want to call your own mother and apologize.

It’s neither del Toro’s best nor his worst, but this feels like the movie he was born to make, and the one he would have died trying to get done.

Oakland-based rapper Boots Riley scores a knockout debut as a director with Sorry to Bother You, a no-mercy satire that gets up in your face, breaks all the rules – and then invents new rules so it can break them too.

The burning intensity of MacKay’s face, reflecting the ferocity and futility of war, leaves an indelible mark. His fervor, coupled with the creative passion that Mendes infuses in every frame, makes 1917 impossible to shake.

The Substance won’t reset society’s fixation on youth or cure Hollywood’s sexist ills. It will, however, remind you that when you’re chasing your past by any means necessary, you are always your own worst enemy.

A funny and touching film that is gorgeously acted by a British cast to rival Gosford Park's.

It's a terrific, twisty, funny-as-hell crime flick about so-called hicks who decide that making America great again starts right at home.

With Denis there’s always more than meets the prism of snap judgements. Let the movie mess with your head.

While there’s a fine line between loving a movie and being slavishly devoted to it, Eggers thankfully never crosses it. Rather, he molds the man-meets-vampire, things-go-awry story into his own rigorous type of horror filmmaking, and comes up with something stylish but not slick, feral but not overly fussy in its attempts to channel that old-fashioned folkloric feeling.

Cynthia Nixon is simply magnificent as Dickinson, finding the sharp wit and searching mind of a woman out of step with the codes and formalities of her time.

Does the plot spin out of control? You bet. But dumb fun this smart is a gift.

Howard lays off the manipulation to tell the true story of the near-fatal 1970 Apollo 13 mission in painstaking and lively detail. It's easily Howard's best film.

The movie comes not to bury this legend but to praise him. Inhuman endurance or not, you worry it may end up having to do the former regardless.

This teeming film sometimes bursts at the seams, but it’s abound with an exuberant energy that honors Dickens without embalming him in the literary past. It’s irresistible.

If you want to see what great acting is, watch Alfre Woodard deliver a master class in Clemency.

A black-comedy gem.

Before this trippy, mesmerizing movie swerves out of control, it delivers an exhilarating and challenging ride.

When it flies, it soars.

Chukwu’s script, co-written with Michael Reilly and Keith Beauchamp, is interesting for all of the predicaments it stares down and quietly works its way through.

This is a movie that knows the power of images. It has learned, from the greats of the genre, that what we fear most is what can’t be seen, what’s merely implied.

If Finding Dory lacks the fresh surprise of its predecessor, it still brims with humor, heart and animation miracles.

It’s an unabashedly style-over-substance take on a particular type of modern horror story. This is less a serial-killer thriller than a feature-length nightmare vibe.

One terrific movie... Pacino and Depp are a match made in acting heaven, riffing off each other with astonishing subtlety and wit.

In Washington's haunted eyes, in the stunning cinematography of Roger Deakins (Fargo) that plunges into the mad flare of combat, in the plot that deftly turns a whodunit into a meditation on character and in Zwick's persistent questioning of authority, Courage Under Fire honors its subject and its audience.