Uniformly robust acting puts still more feathers in the caps of Rush, Winslet and Caine.

This year's wittiest animated adventure saga.

Dunkirk is also one of the best-scored films in recent memory, and Hans Zimmer’s music plays as important a role as any character. With shades of Edward Elgar’s Enigma Variations, the melodies are glorious, yet Zimmer also creates an instrumental ticking-clock soundtrack that’s a propulsive force in the action scenes.

A gently funny ensemble comedy that feels less like a movie than a short story.

Hopkins and Pryce have sensational chemistry and are rather heavenly inhabiting their character arcs, which power this pious take on “Frost/Nixon.”

Peele is this generation’s Hitchcock, for sure, but also a true American original with introspective themes in hand and suspense to spare.

Babe, a live-action fable about a valiant pig who conquers prejudice like a barnyard Jackie Robinson, is in a league of its own when it comes to enchantment.

It is one of the year's most intriguing dramas, with a quartet of powerful performances.

Touching, but not cloying, uplifting and hopeful but never sappy and also just plain funny. There is not a false note among the five core performances, nor a false word in Sheridan's script.

Several heads roll though it’s your mind that'll get truly blown by The Green Knight, a visually dazzling and thoughtful trip back to Camelot.

The kind of well-acted, genuine heartwarmer that some people complain Hollywood doesn't bother making anymore. And in this case, Hollywood didn't.

This is a very bloody fantasy (reds do eke their way into the black-and-blues), but it's hard to think of another film with as many severed heads whose overall tone is so sweet.

The Secret in Their Eyes is that rare police procedural that engages emotions as well as intellect.

The magic of Homecoming is that it belongs more to the John Hughes cinematic universe than the Avengers’.

Though set in the future, Her is a timely, soulful and plausible love story.

You'd be hard-pressed to find a purer expression of rapture in a film this year than the one that opens Billy Elliot.

Not only historically significant but also truly excellent.

While the film is heart-wrenchingly sad, it also is mordantly funny, uncomfortably prickly and above all, unflinching in its depiction of a believable sibling relationship.

Both a psychological portrait and an exciting action film.

The film's score and editing brilliantly heighten the film's energy, keeping the audience somewhat off-kilter and unsure where things are headed.

David Lean's classic Cliffs Notes telescoping of Charles Dickens took Oscars for Guy Green's black-and-white photography and John Bryan's art direction, and you know right off that this is going to be a visual stunner as you watch fleeing prisoner Magwitch (Finlay Currie) dart across Green's spookily lit marshes. [22 Jan 1999]

Bedroom succeeds with performances that get some of their power from imaginative casting.

Murphy wonderfully inhabits the nervy intensity of a gaunt and troubled figure, who's deemed unstable and egoistical by his peers during the war and at wit’s end later, as he contends with politicos with a score to settle.

With one of the best ensemble casts of any film this year, it's audacious, enthralling and uproarious.

The Class is a deeply moving film about the challenges of educating children in a complex and often turbulent world.

A summer crowd-pleaser worthy of its wind.

A 2-hour classic wrongfully stretched into three.

Writer Greta Gerwig's witty and endearing solo directorial debut...navigates the absurdities and struggles of the transition into adulthood while striking an excellent balance between enjoyable quirk and touching emotion.