Anomalisa may simply be a brilliant one-off, but it’s pointing a new direction for animation, if anyone cares to follow it.

It is a well-researched smorgasbord of newsreel and documentary footage spliced with current interviews with those on the front lines.

The new version excels because it makes its teenage protagonist deeper and more mature — and its monsters extra frightening.

Scorsese has done nothing less than rescue this evanescent moment and brought it into the light, 45 years later, a glorious and slightly miraculous resurrection of a transcendent enterprise that would have otherwise passed into the mists of time.

A daring, free-spirited and ultimately moving performance by Benjamin Bratt lies at the beating heart of Pinero.

Best movie of the summer.

Parasite, Bong Joon-ho’s latest masterpiece and the best film I’ve seen so far this year, is about two families of four at opposite ends of the economic spectrum, and how the one on the lower end systematically takes over the lives of the other.

See Gravity in theaters, because on television something will be lost. Alfonso Cuarón has made a rare film whose mood, soul and profundity is bound up with its images. To see such images diminished would be to see a lesser film, perhaps even a pointless one.

Interviews with Pinochet's victims put a human face on the systematic torture that existed under his rule.

Frothy and exuberantly entertaining - in part because of the sexual innuendoes - it's the best romantic comedy so far this year.

An unforgettable film.

The film is an excellent reminder of how important soccer is globally. It’s more than a sport.

The writing, by Rapp and Catherine Dussart, is exquisite, and the performers, including Francois Truffaut's old colleague Jean-Pierre Leaud as a magistrate, are all first-rate.

It takes about half the movie, but gradually we realize that we’ve stumbled into something wonderful, that there’s magic happening here, both onscreen and within the lives of the characters.

Magnificent but somewhat frustrating movie.

The film’s writer-director is British-born Sabrina Doyle, who is making her feature debut after spending the past decade in Los Angeles making short films. Her touch is nearly perfect: authentic, patient, guiding — giving her actors plenty of space. And they respond.

Wetlands, an in-your-face story about bodily fluids and the collateral damage of a family gone wrong, is crass, vulgar and brilliant.

A film that doesn't let go from the very first moment.

What's amazing is the raw honesty of it all -- the performances, the interviews, the spontaneous occurrences. There is little artifice. The 70mm print is must-view material for rock fans and sociologists of any age or generation. [1994 version]

It's hard to dislike a picture with flying cows and oil trucks.

One of the rare films that directly responds to and expresses modern anxieties, this debut feature from director Henry Alex Rubin interweaves the stories of three sets of people, whose lives are upended through various bad things that happen over the Internet -- including bullying and identity theft. A fascinating and riveting thriller.

It's the picture that proves action films don't have to be silly, that a few thrill sequences don't mean every other value has to be shot to pieces.

The movie is laugh-until-your-stomach-hurts hilarious.

[Soderbergh] plays with time and narrative to reveal character, mood and longing in ways you just don't find in a mainstream crime picture.

So it's two guys traveling, eating and talking. Doesn't sound like much. But it's terrific.

The Maid would have been worthwhile just as a showcase both for good acting and for the director's virtuosity. But the movie's ultimate virtue is its humanity.

So good it's scary.

A moving, quite amazing documentary.