It's like an Ingmar Bergman film with the loss of religious faith replaced with a sort of socioeconomic nebulousness.

The fissure between father and daughter approaches like a snake. It sneaks up on you, then leaves you in paralyzed shock.

Went down like a slice of warm pecan pie topped with two scoops of Ben and Jerry's Bovinity Divinity.

Supernova is modest in every respect except its emotional impact. In the characters’ internal arcs, the title—the name for a stellar explosion—comes fully into perspective.

The movie is riotously entertaining, and with a big heart, too.

This is more than just the predictable story of who Ginsburg was and who she has become. It’s also a monument to the formal written legal legacy that transcends her own life story and changed a nation.

I found it exquisite. In part I responded out of sheer amazement: I've never seen anything like the sequences in which Sandler, in his boxy, sea-blue suit, charges around his warehouse to the rhythm of Brion's harsh drums.

The movie has become a kind of highway-safety film for the rock community.

The acting of this central trio is brilliant, in part because the crisscrossing of these and other stories and the gorgeous backdrops take some of the weight off: The characters are free to be flawed without losing our interest.

This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.

Easy Money's big heist scene is the only action set piece so far this year that was so suspenseful I could feel my heartbeat in my ears.

Williams plays this tired, disillusioned, chronically angry woman without a trace of actorly vanity. It's a performance noteworthy not just for its intensity but for Williams' ability to communicate inner experience at a micro-level of detail.

McQueen has created a tense and satisfying action drama with a decidedly feminist bent.

May be the most necessary film you'll see this year. But if you go to the movies in search of emotion rather than edification, don't let that word necessary deter you, because this is also one of the most engaging films you'll see this year, full of vibrant, complex real-life characters whose troubles and joys will stay with you long after the movie's done.

This is the essence of Get Out, which only grows more darkly relevant as the main story gets going, masterfully unfurling all of the real-life anxieties of Existing While Black while simultaneously mining that situation for all its twisted absurdity.

The most delicious part of Raw is its rich metaphorical life. Rather than playing like a gross-out sideshow, the movie has viscera-streaked things to say about the terrors of young womanhood, sisterly initiation, French racism, the gruesome traditions of veterinary science, and the uneasy bond between women and gay men.

Paddington is a wonder: warm, gentle, well-acted, funny without being stupid.

It's a rich, impressive comic-book fantasy -- easily the summer's best "blockbuster."

With the help of brilliant French actor Mathieu Amalric, Spielberg's longtime cinematographer Janusz Kaminski, and screenwriter Ronald Harwood (The Pianist), Schnabel has made a marvelous film that uses images with as much grace and flair as Bauby used words.

Even viewed on a small screen at home, I found it rapturous. I can only imagine what it’s like in a theater. All of which makes it exactly the kind of documentary that fulfills Eno’s dictum, the sort that after you encounter it, makes you want to go out and create art yourself.

Russell has always excelled at finding new ways to use familiar actors, and every performance in The Fighter is noteworthy if not outstanding.

Of all the great vocal characterizations...the showstopper is Brooks, who hasn't had a part this good since "Lost in America" (1985). His Marlin is tender, cranky, hysterical, yet somehow lucid.

One of the most enthralling three hours you'll ever spend at the theater.

As simply a genre exercise, Rebel Ridge would be exquisite work, but what elevates the film even further is its rare intelligence and conscience.

The main character of this movie expends enormous effort seeking affirmation that the words she spends her days trying to get down on paper matter. The movie’s writer-director, one of the most idiosyncratic and indispensable voices currently working in film comedy, needn’t worry about a thing.

Guillermo del Toro is in a class with Peter Jackson as a fan-boy who gets it--a brilliant filmmaker who has a kind of metabolic connection to horror and sci-fi that helps him transform secondhand genre material into something deep and nourishing. Del Toro reaches into himself and finds the Wagnerian grandeur in schlock.

Spotlight provides a wealth of exceptional performances.

Beat by beat, scene by scene, gorgeous...at times emotionally devastating.