The House of Mirth is not one of those teacup and doily movies; it's harsh and disturbing. Davies does superlatively right by Wharton. There's blood on the walls.

Undeniably thrilling and troubling...Dazzling, era-defining.

Come to West’s celebration of the movies’ darker underbelly for the adrenaline rush of sex and violence. Exit it having witnessed something that marks the spot where baser impulses meets artistry, in more ways than one.

It’s the closest thing to witnessing a miracle — just some cameras, a crowd and a voice touched by God.

The actors are outstanding, illuminating four different views of loneliness. But it's Camara's tour-de-force performance that anchors the film, that shocks and unnerves us.

Joel and Ethan Coen's adaptation of Cormac McCarthy's 2005 novel is an indisputably great movie, at this point the year's very best.

Anderson orchestrates a comic romance like no other. The effect is intoxicating. Sandler and the movie will knock you for a loop.

It is also Nicholson at his bravest and riskiest. By banking his fires and staying alert to the smallest details, he delivers a monumental performance that blasts your expectations and batters your heart.

You can find hundreds of egotistical monsters who’ve graced movie screens (don’t get us started on the ones working behind the scenes; that’s a whole other piece), but few of them can compare to Tomas Freiburg.

What initially seems like a series of cryptic aside soon turns into a bigger-picture revelation about what Filho has been chasing all along: the passage of time, and how it never really heals all wounds. That’s not really a secret. But it is a point that bears repeating, especially when its echoed in a movie as graceful and gratifying as this one.

Broken Arrow delivers the hippest action fun around. Travolta's "Dr. Strangelove" exit will blow you away. Ditto the movie.

Allen has never crafted anything as fiercely funny as this comedy of coming apart; it’s a groundbreaking film, full of sublime performances alert to the violence done in the name of love.

A triumph of acting, writing and directing that defies glib description...the kind of artful defiance that Hollywood is usually too timid to deliver: a jolting comedy that makes you laugh till it hurts.

Sandra Bullock, in the performance of a lifetime, spends most of this wondrous wallop of a movie lost in space, alone where no one can hear her scream.

A hot-wired crime thriller that captures Thompson's flair for hard action, malicious wit and fevered eroticism.

If the movie does adhere to his signature beats, and feature so many recognizable Spielbergisms, occasionally to its detriment, it’s still one of the most impressive, enlightening, vital things he’s ever done.

Logue hits every note of humor and heart in his breakthrough role. Don't miss him. He's that good.

The new King Kong of crime movies...Ferocious fun without a trace of caution, complacency or political correctness to inhibit its 154 deliciously lurid minutes.

Dunkirk is a landmark with the resonant force of an enduring screen classic.

The last days of guilt-free glitz had consequences for more than two white chicks and their boyfriends, and Stillman shows how with delicious malice and unexpected compassion.

Easily among the greatest remakes ever made, Philip Kaufman updates Don Siegel's McCarthy-era classic to 1978 San Francisco. Kaufman proves singularly adept at keeping multiple genres and tones in play, from noirish mystery to heady paranormal thriller to face-squishing sci-fi horror. There's truly no recovering from the film's final the enemy-is-us parting shot.

Writer and director Carl Franklin ("One False Move") scores a triumph in using the brooding atmosphere and racial tension of the sun-kissed, seedy City of Angels to reveal character and reclaim a neglected past that ace cinematographer Tak Fujimoto brings to vivid life.

Poor Things never gets dogmatically bogged down — it prefers a swifter, Swiftian attack on bygone mores regarding sex that still don’t feel bygone enough — but whether you dig the manner in which this pilgrim’s progress is presented may be a matter of taste.

There’s not a bad performance among the central quartet here (Mescal once again proves that he’s a character actor stuck with a matinee idol’s square-jawed mug), but Scott is the one subtly shouldering the storytelling.

You may want to revisit this profanely hilarious Hollywood satire. . .just to catch the zingers the audience often drowns out with laughter. Hollywood corrupts absolutely, and Mamet turns the toxic process into the year's best and smartest comedy.

Jonze has filmed a fantasy as if it were absolutely real, allowing us to see the world as Max sees it, full of beauty and terror. The brilliant songs, by Karen O (of the Yeah Yeah Yeahs) and the Kids, enhance the film's power.

Chou has said that the film isn’t autobiographical — nor, despite the fact that Park herself was born in Korea and raised in France, is this her story. Yet the two of them have made something that feels so intensely personal and infuses so much life into this young woman’s trek toward self-discovery.

I'm jazzed by every tasty, daring, devastating, howlingly funny, how'd-they-do-that minute in Birdman. Like all movies that soar above the toxic clouds of Hollywood formula and defy death at the box office, Alejandro G. Iñárritu's cinematic whirlwind will bring out the haters. They can all go piss off. Birdman is a volcano of creative ideas in full eruption. Buy a ticket and brace yourself.