Andrew O'Hehir

If you're willing to take this voyage with Fiennes into the psychic landscape and working life of one of the world's greatest contemporary artists, it's a trip you'll never forget.

Manufactured Landscapes may tell you more about how the 21st century world actually works than you really want to know, but it's a heartbreaking, beautiful, awful and awesome film.

The result is giddy, exciting and hilarious, not quite like any artistic experience you've ever had.

One of the best movies of the year.

On first viewing, I conclude that Enough Said is irresistible, and demands a second (and third) viewing right away.

Wonderfully acted and energetically filmed, and in fact it partly echoes a real-life pedophilia scandal that rocked Belgian society to its foundations in the '90s.

Like the best thrillers it dives below the ordered surface of the genre into the coldest waters of the individual soul, where Hitchcock and David Lynch and Dostoyevsky have ventured. Does Christopher Nolan belong in that company? Not quite yet, but he's on the way.

A big movie for the ages, full to the brim with sympathy, imagination and sheer visual delight.

Sleeping With Other People is one of the best and funniest recent attempts to update the rom-com – but the container feels too antiquated for the world it captures, which is so furiously alive.

Weekend is such a smart, prickly, sexy, inventive film that it critiques itself and critiques its viewers, gay or straight, even as it spins an archetypal romantic fable.

An academic exercise driven by adolescent ideas that never shape themselves into a narrative: in short, a movie that can never dislodge the art fatally wedged up its butt.

The way those things come together in this strange tale of a small-town newcomer and his crazy dream — it’s like “The Music Man,” except really, really depressing — illustrate a different problem that is not easy to pin down.

This is a remarkable work of pure documentary cinema, and a mystical accomplishment on the order of Wagner's "Parsifal" or Tarkovsky's "The Sacrifice." That's hardly anybody's thing these days -- it's not often mine. But the effort, in this case, is worth it.

The whole experience of watching casts of talented and over-eager actors try to make sense of his (Allen) nonsensical scripts becomes increasingly strained and bizarre. I’ve felt that way about recent Allen movies I mostly enjoyed, like “Midnight in Paris” and “Vicky Cristina Barcelona,” and it goes double or triple for Blue Jasmine.

Fontaine and cinematographer Caroline Champetier create many subdued and unexpected moments of simple humanity, or of what a more generous Catholic than the Mother Superior might call grace.

The most disturbing and effective thriller I've seen in many moons. Rarely, indeed almost never, is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite, unfakable sense of cinema.

Creates such memorable images out of squalid surroundings that I sometimes wondered whether I was being distracted from the devastating stories of these kids by the beautiful cinematography.

The grandest and most vigorous movie he's (Frears) made in at least a decade. Like Okwe himself, it rises above its limitations, and it's just a little bit bigger than the landscape around it.

After its own unexpected and light-hearted fashion, Results is as subversive as Bujalski’s other films. Yes, I called it a rom-com, and that’s accurate enough, but it’s a love story full of twists and turns, one that tempts us toward incorrect conclusions and deliberately avoids revealing its true heart.

What feels at first like a quiet, straightforward picture builds into one of the richest and most satisfying of the year so far, in any genre or any language.

If The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen. It's an unfriendly masterpiece that shows you only a little circle of daylight, way up there at the top of our collective prison shaft - but a masterpiece nonetheless.

It's a nifty little Irish summer vacation.

It’s a brilliant, slow-burning American revenge thriller that hardly puts a foot wrong, a work of startling violence and profound conscience that announces the arrival of an exciting young director.

Her (Taymore) interpretations and interpolations range from brilliant to indifferent to extremely silly; as Taymor surely knows, there's nothing especially revolutionary in asking Helen Mirren to play the central role of Prospera.

Après Vous offers nice sound design and an unfussy presentation of middle-class Paris. It comes and goes with no unpleasant aftertaste.

This is the weirdest film I've seen all year, or at least the weirdest good film. It's also among the most powerful.

Homemade as it clearly is, and first-drafty as it often feels, Whedon’s Much Ado will reward repeat viewings, for the adroitly paced dialogue, the debauched humor of the extended party scenes and the offbeat visual jokes.

A powerful Czech drama with comic flourishes.