The result is a film that defies description. I'd call it some kind of miracle.

For many of us staring down the next four years, the idea that a community can come together to take on the rising tides couldn’t be more welcome or needed.

It's original, outrageous and murderous fun.

Don't miss it. Though Life Itself is a warts-and-all portrait Ebert didn't live to review, my guess is his thumbs would be shooting upward. Mine sure are.

The result is an acting duet that will haunt your dreams and break your heart.

Casts a spell that grips you and won't let go. The film works as a provocation, on a personal and a political level.

Pedro Almodovar's transfixing tragicomedy -- the best foreign movie of the year -- is also the best showcase for actresses in ages.

Moneyball is one of the best and most viscerally exciting films of the year.

Yes, it's in French with English subtitles. Don't worry. Nothing gets lost in translation as this coming-of-age tale brims over with humor, heartbreak and ravishing romance.

Force Majeure is a jolt. You won't know what hit you.

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.

What’s never in doubt, however, is the compassion the movie shows to its protagonist, partly based on the women in the filmmaker’s own family and embodied by a great actress at her intuitive, indelible best. In capturing what Jones calls “the rhythm of living” even in the face of death, he has turned this character study into a shattering portrait of resilience — and an essential work of art.

A groundbreaking film that leaves you in stitches while quietly breaking your heart.

A movie of prodigious power and feeling that is also high-spirited, hilarious and scorchingly erotic.

Detractors will see the usual parade of repressed feelings in a Masterpiece Theatre setting. Those who look closer will find one of the best films of the year.

This documentary succeeds triumphantly on so many levels that its full impact doesn't hit you until you have time to register its aftershocks.

Room deserves to be seen unspoiled. All you need to know is that the performances of Larson and Tremblay will blow you away.

Beyoncé’s Renaissance is so much more than a concert film. It’s a superhero epic—as if Bey is filling the void left by The Marvels or Ant-Man and the Wasp: Quantumania. It’s a glorious three-hour tour of the Queen in all her creative splendor, on her record-setting Renaissance World Tour from this past summer.

Though some may come for the murder mystery, it’s Triet’s way of using that genre to get at deeper notions of love turning to hate, and tiny marital fissures that turn into chasms, that really makes this something close to an anti-romantic masterpiece.

Just try to take your eyes off Dern. In his finest two hours onscreen, he gives a performance worth cheering. There's not an ounce of bullshit in it. Same goes for the movie.

It's a role of fierce demands, and Rampling meets them all. In a summer of crass, Rampling is a true class act.

The thrill of the multiversal new is gone. Everything else, however, is extra-webbed for your pleasure.

Jackson’s visionary triumph, heightened by the blazing performances of Lynskey and Winslet and by Alun Bollinger’s whirling camera, is in capturing the delirium as the girls whip themselves into an erotic frenzy with Mario Lanza records, semi-naked dances in the woods and revenge fantasies.

The knockout punch comes from Eastwood. His stripped-down performance -- as powerful as anything he's ever done -- has a rugged, haunting beauty. The same goes for the movie.

Kent will have you climbing the walls simply by plumbing the violence of the mind. Brace yourself.

Little Men, with its two boys racing at life with the brick wall of maturity still at a distance, is funny, touching and vital. It's truly an exhilarating gift.

The actors are to die for. Bening and Moore nail every nuance of a relationship going adrift. And Ruffalo is dynamite as a man keeping himself at a distance. Kids makes its own special magic. It's irresistible

Welcome to Chechnya is a horror movie, but it’s also a collective profile in courage. You can’t say that “such people” are not here. They are, and they’re not just heroes, the movie suggests. They’re the last thing standing between survival and a purge.