This is a gorgeous production, even by Miyazaki's standards.

Director Gabriela Cowperthwaite creates a fascinating character study of Tilikum, part of a revered species without a single confirmed kill of a human in the wild. Captivity is where Blackfish's evidence continually points the blame for Tilikum's deadly behavior.

The choicest performance in Animal Kingdom is Weaver's sing-song sinister matriarch of the Cody clan, a cheery sort with the benign nickname "Mama Smurf."

Hugo is Scorsese's most personal film, from the standpoint of both an artist and a grandfather. He is as interested in Melies' posterity as in making a movie that his descendants can see before they're adults.

The jokes fly at a pace demanding viewers to either refrain from laughing (highly unlikely) or see The Lego Movie again to catch all the wondrous sights and amiable wit sliding by the first time.

There's something fairly malignant in the way Glazer's strange movie holds attention, against the urge to give up and leave. There is no doubting its boundless artistry or pretension, a dangerous position for any movie in today's love-me pop culture to place itself in. Under the Skin is exactly where it gets.

Gabe Polsky's movie about the dynastic Soviet Union hockey team is surprisingly light on its skates, despite being a Cold War history lesson and conventional sports documentary.

Steven Spielberg’s The Post is a fake news movie, a true story told phony to further an agenda.

It Follows has an impressively sustained sense of dread, less explicit gore than measured tension. Mitchell slyly inverts the conventions of dead-meat teenager flicks, although not with wink-wink comedy like the Scream series. This movie is serious about creeping out viewers, and Mitchell is just artistic enough about it to create a minor masterpiece.

Creed proceeds to hit the same beats as six Rocky movies preceding it, all the way to the Big Fight. But there's a difference here. This is the first Rocky movie Stallone didn't write, enabling Coogler and co-writer Aaron Covington to bring new perspective and respect.

Monsieur Lazhar becomes a deeply affecting film not for pathos but for the way sadness is conveyed so subtly. It's a small triumph of restrained compassion, coaxing throat lumps rather than jerking tears.

It's gory and gut-wrenching but strangely life-affirming.

The soundtrack is a small marvel of music hall tunes and dialogue that is mostly garbled, allowing expressions and body language to be interpreted.

The End of the Tour asks viewers to lean in, listen well and be rewarded with an uncommonly intelligent and relatable movie experience.

War for the Planet of the Apes seals Caesar's place in the pantheon of movie messiahs and the trilogy's place among the finest ever.

The Lobster remains strangely romantic throughout, an absurdist take on the notion that great love stories — Casablanca, The Way We Were, Gone With the Wind — don't always end tidily.

Technically dazzling but emotionally empty. [22 Oct 1993, p.5]

The new, vastly improved Star Trek moves at warp speed through a marvelously reinvented sci-fi franchise, reverent to the past and firmly entrenched in the now.

This movie is smart terror that’s a lot of fun if you let it be. Stay quiet or stay at home.

Baumbach keeps everything dialed down to medium cool, with occasional flashes of exuberance like Frances dancing down a street to the beat of David Bowie's Modern Love.

As a wisely devised teenage drama, The Spectacular Now treats kids and adults respectfully, even their foolish weaknesses. That respect extends to the audience.

Danny Boyle's movie is meticulously crafted to artful specifications, written in Aaron Sorkin's torrential style and acted to perfection by a superb ensemble. Yet like Jobs' NeXT Cube in 1988, there's one obvious question that isn't satisfactorily answered: What does it do?

Free to create practically any whim, Anderson requires a bit too much narratively of himself and brainstorming buddies Jason Schwartzman and Roman Coppola. Their plot scrambles keeping pace with inspiration, eventually surrendering to commotion and holding on for dear clarity.

The particular genius of My Life As a Dog is its ability to capture the joy, fear and fantasy that make pre-adolescence so beguiling. [18 Sept 1987, p.3D]

At this point in his celebrated career, there shouldn't be much new that Hanks can show us. But there is, as the actor reaches deep inside to express the relief of dodging death as I've never seen it played before. He's in shock; we're awed.

Sicario is a tentacled drug cartel thriller grabbing viewers by the throat and squeezing for two hours. This movie continually defies the conventions of its genre, from its hero's gender to the vagueness of its morality.

I'm not sure there's anything else to take away from this film besides Manville's performance and gratitude that we aren't these people.

Villeneuve crafts a movie both cerebral and sensuous, as puzzling and visually striking as its predecessor. The experience should be likewise revered by next generations.

The easiest way for filmmakers to show injustice in the world is through the eyes of a child. In the case of Haifaa al-Mansour's movie, the injustice is Saudi Arabia's male-centric culture, and the child is a preteen girl named Wadjda.

Nelson's is one of the year's best performances in nothing less than one of the year's best films. [23 Sep 1994, p.2]

It's one of a handful of movies that have legitimately fooled me; not with an abrupt twist but a dawning awareness of where it's going thematically, how deeply and how distanced from sci-fi as usual.

Sounds depressing, but Blue Valentine is a reminder that well-measured and expertly acted pain is as thrilling to watch as 3-D spectacle.

Though Chocolat never fulfills the plot it promises, Denis makes many low-key but powerful observations about racism and the lines it can draw between us. [12 Aug 1989, p.4D]

Top Five is the funniest movie I've seen this year, and the calendar's running out. No matter whose movie Rock's resembles, it is completely his, and a brash start to being taken seriously as an artist.

It’s so respectful that vibrancy suffers. Coco is a bright pinata of a movie that breaks and nothing falls out.

Bridge of Spies is solid work but feels like Spielberg's best intentions as a filmmaker and world conscience on cruise control.

Movies like Miss Daisy purport to be humanistic or aimed at a higher consciousness, but they're as self-righteous and silly as the one-dimensional characters they depict. [12 Jan. 1990, p.7]

The stop-motion technique never ceases to fascinate, but the episodic structure of Shaun the Sheep Movie hinders any true emotional buildup and payoff.

Miller unravels this story with the grim inevitability of a death row vigil, but not without flashes of sly humor.

Anchored by Natalie Portman's uncanny impersonation — wispy voice, aristocratic posture — Jackie fascinates and frustrates, sometimes at once. We can't be certain any of her actions here are true. Some don't seem likely.

The movie needs one or two central characters directly affected by the dictatorship, in order to create more tension around a conclusion that's already known.

More touching than daring, The Wedding Banquet is an exquisite comedy, brimming with simple human decency and more belly laughs than any comedy I've seen this year. [15 Oct 1993, p.4]

McKay's frustration about the financial crisis is obvious, his instinct of how to engage viewers less so. Buyer beware.

We can now agree that Johnson is not only the Sexiest Man Alive but also our strongest, lifting Moana on his character's beefy shoulders, carrying it like other hits before. No movie left behind.

The movie's assured direction by Sam Mendes can't be underestimated.

Director and co-writer Sebastian Lelio keeps the melodrama muted, allowing Vega’s expressive passivity to move viewers. She’s a tragically striking character, a face of abruptly lost love seldom seen in movies.

By the time Melancholia finally crawls to its conclusion, his (von Trier) round orb in the sky isn't as depressing as the rectangular screen.

Allen eventually gets to the heart of this matter: the allure and danger of nostalgia.

What "Shaun of the Dead" and "Hot Fuzz" did for zombie and cop flicks The World's End does for sci-fi fatalism, respecting its doomsday tropes while presenting them with cheeky wit and a refreshing strategy of sensory underload.

Silver Linings Playbook is a bracing shaken cocktail of awkward failure and accidental success, with Pat and Tiffany making a refreshing and unlikely couple to root for. We just want them to be abnormal together, share their favorite antidepressants, maybe even dance to Stevie Wonder.

Nobody can disagree that Waiting for Superman deals with a subject demanding attention. But it paints the engulfing problems of U.S. education with a brush too broad and samples too small to be definitive.

Ridley Scott's The Martian is a brainy blockbuster, melding genuine science and fiction into a rare popcorn epic that actually makes you feel smarter for watching.

The movie grabbed me and wouldn't let go during a bravura set piece at a soccer game when Campanella's camera glides into the stadium, finds Benjamin's face in the crowd and doesn't stop moving (with only a couple of edits) for six breathtaking minutes.

The Safdies' knack for '70s-era grit set to techno beats impresses nearly as much as their star, a teen dream waking up to an exciting new stage of his career.

The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.

Incendies is a gallery of nightly news atrocities - a bus massacre, rape, children with guns - yet it's made intensely personal under the director's steady hand.

The man's goodness and his support team's devotion are quickly obvious; Gleason is nearly two hours long. Tweel could get to every uplifting turn his movie makes a bit sooner.

Casino Royale mostly succeeds as an introduction to a badder Bond than ever.

It's a remarkable movie, the first of 2015 that I can't wait to see and hear again.

Levinson's Bugsy is painted against a vast tableau as sprawling as his Avalon and Rain Man. Bugsy is his most sophisticated film to date, a celebration of an outlaw's scheme to turn sand into gold; not for profit, but for love of a woman called Flamingo. [20 Dec 1991, p.24]

Sure, Arnold's movie is aimless, at times frustrating, like its characters. It's also a harshly poetic reflection on what being young must mean today.

True Grit is a very good movie that might be more embraceable if we didn't know who was pulling the trigger.

The Force Awakens accomplishes its fan base mission, bringing back a modern myth with the torch-passing respect it deserves (plus some crass commercialism it doesn't).

Director/co-writer Miller and terrific performances make Lorenzo's Oil one of the don't-miss movies of the year. [22 Jan 1993, p.5]

For those viewers who've watched Stewart's recent progression in offbeat films like Camp X-Ray and Still Alice — when she held her own opposite Academy Award winner Julianne Moore — it shouldn't be a surprise. Clouds of Sils Maria matches Stewart with another Oscar honoree, Juliette Binoche, with equally impressive results.

Thanks to Jackson's involvement as a producer, Berg has time and access Berlinger and Sinofsky didn't, allowing expansion of whatever material that's repeated.

Eat Drink Man Woman cleverly leaps between the two generations, with a wise sense of humor that illuminates the security and restrictions of the ties that bind. [02 Sep 1994, p.6]

The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.

Alex Garland’s Annihilation is a bracing blend of cerebral sci-fi and grindhouse terror, a genre movie that’s more, maybe too much for some viewers.

Good performances and flashes of goose-bump-raising wit, but one is left wondering what all the fuss was about. [16 Sep 1994, p.12]

In the movie's best moments, Rivers is defiantly obnoxious and forthcoming about the fact that she'll do anything for money. At other times, the filmmakers attempt to make the wildcat warmer and fuzzier.

A Most Violent Year has its share of wham-bam moments — a car-truck-foot chase into the city's bowels is superb — but the action never speaks louder than Chandor's hard-boiled words.

Gone Girl is a terrific movie, everything the book and its fans deserve.

Only Scorsese could craft a film of such moral gravity for multiplexes and fascinate for nearly three hours.

Buckle up for a bumpy ride but one that a road warrior like McQueen would hitch in a heartbeat.

A boxing movie swinging in too many directions at once, as if someone sneaked a third clubber into the ring. All the emotional punches land solidly, to occasionally devastating effect, but at the conclusion you're not sure which competing cliche wins.

Herbert's tale is twisted into a barely recognizable rush of pretentions made entertaining by Jodorowsky's glee in describing them. At age 85 he remains a madman with immense personality, a pinhole visionary insisting his Dune would be a prophecy shaping generations. Jodorowsky's Dune makes a viewer wish he'd gotten the chance.

Green Room is a blunt instrument of terror announcing Saulnier as a filmmaker to watch, just as soon as you pry those fingers off your eyes.

Salaam Bombay brilliantly reminds us, with barely a trace of sugarcoating, that there must always be room for the children. [23 Dec 1988, p.8]

The young Tianbai, Zheng Jian, is as demonic as a flesh-and-blood Michael Myers. Yet Ju Dou is grounded in the stark reality of turn-of-the-century China, where Confucian law has governed life for generations and where adultery is punishable by ostracism or death. [19 Jul 1991, p.7]

This is a modest film with towering potential to make a difference, looking back to move forward.

These are minor quibbles with a stunning achievement. For All Mankind rewrites history, creating a single glorious adventure from a generation of giant leaps for all mankind. [20 July 1990, p.7]

Yet for all of the technological genius at work here, Dawn of the Planet of the Apes maintains a remarkably human core, even under digital makeup.

Too often, the movie relies on the contrived situations endemic to gangster movies, rather than explore new routes to tell the story. Yet, there is an undeniable visual power that places The Untouchables in the class of The Godfather and Once Upon a Time in America. [3 June 1987, p.1D]

Never has 3-D illusion been used to such pure storytelling effect.

This is how a romantic vampire flick should work.

If Fences occasionally feels cinematically inert, it's emotionally resonant thanks to Davis and Washington the actor, not the director as much.

It's touching, and you can dance to it. What's not to love?

Black Swan is a stage door melodrama putting new spins on cliches as old as "All About Eve" (and maybe Adam). Setting them among ballerinas as opposed to showgirls or movie stars doesn't make them any less familiar.

James Schamus makes an impressive directing debut with Indignation, an oasis of summer movie intelligence.

The role of Albert in Nicole Holofcener's Enough Said is closer to who the man was, and who the actor seldom got the chance to play: bearish yet soft-spoken, a self-confessed slob with a soul bigger than his gut. There's warmth pouring from those slitted eyes, loosening up guarded smiles as Albert takes a chance on love again.

Lifeboat is one of Alfred Hitchcock's weakest films, yet it remains a notable experiment for its ability to maintain a sense of action despite its cramped setting. [9 March 1990, p.10]

The Witches is a delectably creepy movie guaranteed to keep night lights burning bright.

Glory ends with a flourish, although much is left unsaid. [12 Jan 1990, p.21]

Blue Jasmine is Allen's 44th movie in 47 years, an amazing run with storied highs and notorious lows along the way. This one ranks among his finest dramas, his best since "Match Point."

It can get a bit redundant but always remains interesting, as young lives take shape on an asphalt oval.

It Comes at Night lays down a heavy layer of dreadful promise and doesn't follow through. Edgerton's fine performance is overshadowed by a title and ad campaign springing a bait-and-switch scam on horror fans.

When the fadeout comes, viewers may feel as unsatisfied with the movie as these characters are with their lives.