An English cousin to the earlier Jamaica-set films "The Harder They Come" and "Rockers" that is vastly superior in cinematic terms and just as valuable as a cultural document.

A hilarious, blazingly paced teen comedy.

It provides a powerful depiction of the blame-the-victim culture that has so long dominated the national discussion about rape and which only now thankfully seems to be receding. Although there's clearly a long, long way to go.

More than in any previous Altman movie, we are made to feel the pathos and vulnerability of those impoverished souls he draws so well.

Pure dead gallus (that's Scots for 'wonderful').

Some would say the jury's out on that issue; but near-unanimous love and admiration suggests Hesburgh's stance was a great way to win friends and influence people.

Final Cut will be screened theatrically ... and it demands to be seen there, both by longtime admirers and by young viewers lucky enough to have their first viewing be in a theater. ... This is an overwhelming sensory experience, with deep colors and nuanced sound amplifying the film's hypnotic effect.

Who's Afraid of Virginia Woolf? is an instant film classic, and Warner Bros. deserves the highest credit for making it a movie without compromise.

The lustrous textures, boldly saturated colors and lush sounds of The Invisible Life of Euridice Gusmao serve to intensify the intimacy of Karim Ainouz's gorgeous melodrama about women whose independence of mind remains undiminished, even as their dreams are shattered by a stifling patriarchal society.

La Belle Epoque is the sort of vastly entertaining mainstream French film that was produced with regularity during the 1970s-'80s and was sometimes remade by Hollywood. Those days are long gone but it could happen with this witty, sexy and original romantic comedy that touches many points of satisfaction.

Bigger, badder, bolder, longer, and featuring nearly more spectacular set pieces than one movie can comfortably handle, this epic action film practically redefines the stakes.

The Apartment is an important and provocative film.

The sequences crackle with vitality as well as setting subtly the characterizations and packing the explosives to be detonated later.

Ladkani's Sea of Shadows is a stirring adventure — inspiring and heartbreaking in equal measure.

The film’s lively dynamics owe much to the bristly nature of nearly every relationship and interaction in the film.

Armando Iannucci's The Personal History of David Copperfield turns the author's well-loved autobiographical epic into a fast-moving yarn, sometimes hilarious and always entertaining.

The Safdies and the cast go deep enough here to make the film a genuinely human one.

The Robin Hood-like renegade hero of the Antipodean common man, Ned Kelly gets a ripping reinvention in director Justin Kurzel's feverish punk Western, a raw rebel yell of a movie that combines visceral violence with a kind of delirious, scrappy poetry.

A gloriously inspired tribute to Hollywood that never loses sight of what Los Angeles has become.

Even though the movie barely provides any backstory or other details, the characters’ emotions are always immediately accessible in this vivid depiction of the all-consuming nature of nascent amour, as well as the pain, heartbreak and confusion that come with trying to channel all these pure emotions into something as structured as your daily life.

Even if the film is mostly hitting familiar notes in terms of story and theme, it expresses a concise, focused and expertly managed vision with which there’s little to quibble, and the extraordinary style represents the fruition of a long-imagined dream on the part of many directors and cinematographers. From now on, when the discussion turns to great works of cinematography and camera operating, 1917 will always have to be high on the list.

The Fortune Cookie is Billy Wilder's best picture since The Apartment, his funniest since Some Like It Hot.

A gorgeous tone poem that both deepens and personalizes the audio recording, creating a satisfying emotional arc that isn’t as apparent in the collection of 13 fully-orchestrated country-tinged songs.

Last Night in Soho is an immensely pleasurable film that delights in playing with genre, morphing from time-travel fantasy to dark fairy tale, from mystery to nightmarish horror in a climax that owes as much to ’60s Brit fright fare as to more contemporary mind-benders.

Anchored by two outstanding performances from Anthony Hopkins and Jonathan Pryce, the film is a triumph of writing as well as unostentatious filmmaking.

Schimberg confidently blurs the lines between fantasy and reality (more than once a scene that appears to be real is actually fiction and vice versa), though never to the point that it detracts from the people onscreen.

A spellbinding love letter to Hong Kong and the movies.

Fayyad and his cinematographers and editors wield the cameras and shape the scenes in the documentary so beautifully that The Cave is both intensely real and a carefully wrought work of cinema. A kind of counterpart to Last Men, the new film is perhaps more wrenching and even more ambitious in its visuals.