What Seligman, Sennott and Edebiri have given us is nothing less than a Heathers for this generation. It hits you, and it feels like a kiss.

For a series that began nearly 25 years ago, this classic in the making couldn’t go out on a more fitting note of tender, tear-drenched resolution.

It’s a devastating look at paternal love and resilience, which respectfully follows this grieving father (and several others like him) as he refuses to give up.

Fire Will Come is a movie that will go down easy for the right viewer, a movie strangely energized by an unexpected dash of suspense. But the film’s ideas, the questions it sends aloft as we watch, remain stuck in our throats.

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.

It’s impossible to experience the deep-seated compassion of this film and not be moved to tears.

The actors make it unique and unforgettable.

An uncommonly good movie - a thriller that transcends thrills to become a heartfelt and heart-stopping personal drama.

It's a powerful and provocative achievement from a first-time filmmaker of enormous promise.

Love Lies Bleeding doesn’t have time for a slow burn. It’s a movie that comes in hot and leaves in a molten blaze of glory.

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

Williams and Bernal aren’t focused on making a dramatized ESPN-friendly narrative or a melodrama about a gay man suffering the slings and arrows of intolerance. They’re far more interested in what resides in the thin middle of that Venn diagram, in which a luchador finds his authentic self in the most outrageous, over-the-top way possible, and revolutionizes a sport in the process.

It’s a great espionage thriller, and an even better scenes-from-a-marriage drama. Ian Fleming would love this. So would Ingmar Bergman.

The Stunt Man is a bravura piece of moviemaking — a true popular work of modernist art. It makes the audience experience the uncertainty of the contemporary world in a visceral, often hilarious way.

A world-class charmer that could even seduce the Academy when it hands out the first official animation Oscar next year.

It’s the sort of cinema that feels steeped in the past, completely of the moment and timeless all at once.

You get pulled into a force field, thanks to Cooper’s behind-the-camera chops and Gaga’s sound and fury. By the time the end credits roll, you realize that, in fact, two stars have been born.

It’s a movie that utilizes every bit of Gavras’ abundant chops and marshals them to make a coherent statement, tapping brains and heart and spleen in the name of forcing you to recognize what he’s putting in front of you.

Bell explodes onscreen in a performance that cuts to the heart without sham tearjerking. Look for Billy to blast off.

All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn’t change a frame.

Whether or not Casino meets your expectations, it delivers the rush you only get from an audacious gamble.

It’s the perfect movie for Louis-Dreyfus to flex her comitragic chops.

One of the best movies of the year and by far the most entertaining.

That Linklater pulls off the innovative feat with hypnotic assurance is nothing short of amazing.

This being a Lowery tale, the monolithic, the overwhelming, are only more powerful for being rendered in intimate, miniaturized terms. The creepiness creeps just that much more; fear is heightened; fantasies, mysteries tingle with a sense of the unpredictable.

It’s one of the best films of the year, full stop. But now it’s both invaluable and something of a warning for many of us on the shape of things to come.

The writer-director based the couple on his own parents, who bear the same names as his characters. It’s not their story, he’s said — what he’s given us instead is a love story that’s as sexy as it is savage, as tough as it is tender. It’s a spellbinder with a fever that won’t quit.

Maguire and Dunst keep Spider-Man on a high with their sweet-sexy yearning, spinning a web of dazzle and delicacy that might just restore the good name of movie escapism.