Everything works miraculously here, making Coco Chanel & Igor Stravinsky one of the most bountiful experiences of the year.

I Am Love fuses the past with the changing future in a marvelous traditional narrative without a shred of the sloppy trends of contemporary filmmaking.

Resonating with warmth and sardonic wit and containing a majestic performance by Robert Duvall.

This first-cabin director returns to top form, with this revelatory film his best in years. More than that, Mao's Last Dancer is a masterpiece.

For a story about a man who cannot move, the ordeal unfolds at a pace that keeps you breathless.

Made in Dagenham is a retro romp with heart, smarts, soul and wit that will restore your faith in the power of the picket line.

As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.

A true masterpiece of visual enchantment. One of the most original and unique geniuses in cinema today, Mr. Chomet directed, wrote, illustrated and composed the music for this holiday jewel, an homage to the sweet, sad melancholia of the legendary French comic Jacques Tati.

Blue Valentine is about real life, warts and all, over narrative conventions like action and plot mechanics. It is brutal, compassionate, beautiful in its ugliness and one of the bravest films of the year.

No matter where your political leanings lie, the great thing about The Conspirator is that Mr. Redford is wise enough to let the audience decide what the parallels are. See it, enjoy a ripping good yarn and learn something.

In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.

A grisly, authentic, meticulously researched, pulse-quickening political chiller about a hot-button topic that will keep you on the edge of your seat from start to finish.

What an extraordinary thrill to leave a movie exhilarated instead of drained, sated instead of empty, rejuvenated instead of depressed. It's a magical experience.

Get ready for a smash hit. Gimmicky but delicious, this is a valentine to the movies I promise you will cherish.

War Horse is a don't-miss Spielberg classic that reaches true perfection.

Wake in Fright is the closest a movie can get to a primal scream.

Argo is a triumph. It has tension, sincerity, mystery, artistic responsibility, entertainment value, technical expertise, a narrative arc and a thrilling respect for the tradition of how to tell a story with minimum frills and maximum impact. It's a great footnote to history, one of the best films of 2012 and a sure-fire contender on Oscar night.

The Sessions is fascinating, informative, engaging and heartbreaking stuff. Its easygoing, matter-of-fact tone makes it subtle and rewarding, not weird. Roses all around to all and sundry for one of the year's most captivating films.

This is one of the best movies of 2012. With rich performances, a riveting and articulate screenplay, meticulous direction and enough grounded emotional intensity to keep your pulse pounding, Hitchcock grabs you by the lapels like a suspense classic by Hitch himself - a knockout from start to finish.

In beauty, tone, technical achievement and cinematic artistry on every level, Hyde Park on Hudson is a movie unto itself - funny, believable, historic and hugely entertaining.

Put a staggering accomplishment called The Impossible, from Spanish director J. A. Bayona, at the top of the season's must-see list.

Don't let Amour join the legion of "Best Films You Never Saw." I urge you to share its sweetness and wisdom, and learn something.

Exactly what you might expect from the fearless, controversial director of "Pulp Fiction" - it's overlong, raunchy, shocking, grim, exaggerated, self-indulgently over-the-top and so politically incorrect it demands a new definition of the term. It is also bold, original, mesmerizing, stylish and one hell of a piece of entertainment.

It’s a remarkable accomplishment.

I think you’ll find it as fresh, original and breathlessly exciting as I did.

It’s only April, but this is one of the best films of 2013.

Acutely observed, subtly but sharply written and expertly acted.

Every complex member of the writer’s legacy has an agenda, with varying gains and losses, and the power of the film rests in the way it captures so many tangled lives as they cross and intersect at curious angles. The camera is literal, so the film sometimes fails to escape its roots of literary inspiration. This did not bother me. How many times do you get the chance to curl up with a good movie?

Among the most gripping, well-paced, acted and directed, and generally thrilling of anything that I've seen (yet) this year.

Enhanced by superb writing and direction and nuanced performances by an ensemble of great actors, and enough take-home food for thought to keep the mind and senses totally focused from start to finish, The Company Men is pretty damn close to as good as it gets in a disappointing year at the movies.

This meticulously nuanced, sensitively acted film version of the Pulitzer Prize-winning play by David Lindsay-Abaire gives Nicole Kidman her best role in years, and she chews it like raw steak.

Despite extremely unpleasant material, he (Schwimmer) coaxes subtle, incredible performances from his cast and builds a tense, arresting narrative.

Too bleak and wrenching to recommend unconditionally. You need a strong constitution to watch it soberly, but it is a gripping experience that left me weak in the knees.

This is a subtle, elegant and altogether triumphant film about a subject I thought I was tired of, told with an artistry and freshness that is positively thrilling.

A cynical, polished and deeply disturbing look at the kind of camera-ready liberal dreamboy who gets elected in 60-second sound bites, it is one of the most important films of the year.

In Darkness is gloomy and hard to take for a running time of 145 minutes, but it's an important film, related with deep conviction, and uncompromising in its understanding of the remarkable things members of the human race have done - to, for, and against each other - in the wilderness of war.

Lee Hirsch is certainly one who is making a difference. I endorse him and his brave, powerful movie and urge you to see it for yourself. You might leave Bully with rage, but you will not leave Bully with indifference.

It's a delectable slice of Southern Gothic humor, a side show of rednecks and Bubbas and Aunt Tooties.

Considering the subject, ripe with titillating possibilities, it's surprisingly about as sexy as a week-old meat loaf. Tastefully directed by Tanya Wexler, it is a total joy from start to finish.

Don't miss this one. A brave and inspired antidote to time-wasting mainstream movies, it is unlike anything you've seen before or will likely ever see again. In short, it is unforgettable.

I think everything about the movie is too subtle and real to appeal to the "Batman" demographic, but for mature audiences who have forgotten how to smile, it takes up where "The Best Exotic Marigold Hotel' left off.

Laugh-out-loud funny and somewhat melancholic.

The result is a movie of enormous intelligence.

As a bare-knuckle assault on the corruption that has come to define the creeping rot of American politics, Knife Fight is neither as satirical as Barry Levinson's "Wag the Dog" nor as incisive and wrenching as George Clooney's "The Ides of March," but it's a noble, shocking and inspired film worthy of attention.

Flawed but different, well-crafted and consistently powerful, At Any Price is the best film about impoverished farmers in the economic agricultural crisis since Jean Renoir’s "The Southerner."