Andrew O'Hehir

A powerful documentary.

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.

Herzog wants us to see a deluded nobility in this quest. Treadwell's flawed dreams were, in the end, all too human.

While Brown’s complicated trajectory as a cultural and political figure gets short shrift in Get on Up, his music does not – the sequence depicting his legendary “Fever in the Funkhouse” show in Paris in 1971 is an absolute knockout, worth the price of admission all by itself.

A subtle, witty, wise and deeply compassionate American movie.

It's a profoundly optimistic and delightful movie, for balletomanes and neophytes alike. It made me happy for days afterward.

This shouldn't be a competitive sport or anything, but I'm pretty sure that Annie Sundberg and Ricki Stern's documentary The Devil Came on Horseback has the most horrifying images I have ever seen in a motion picture.

If "Cocaine Cowboys" was an epic, ironic yarn of murder and madness and the building of a boomtown built largely on drug money, Square Groupers is a more rueful tale.

Certainly it isn't the greatest of Coppola's pictures, or even of his independent productions, but those are pretty high standards. It has a verve and vitality that's been missing from his pictures for 25 years, and its various and visible flaws all result from too much of that verve rather than too little. I enjoyed it tremendously.

It's a movie on the Hollywood scale that has so much of the Asian spirit. It has drawn the Asian audience back to the movie theater.

Block has made a sad, delightful and half-accidental movie about his own parents.

Even with its abundant flaws and its willingness to embarrass itself this strange and extraordinary film never lost me and never let me go; it wrapped me in a dreamlike rapture and then in a sense of profound and nearly universal personal tragedy.

This is an immersive and powerful thriller, driven by terrific leading performances. It's mostly really good and then it wears out its welcome.

It's a warm, intelligent and highly contemporary comedy with just the right amount of edge, a terrific ensemble cast and a big, fuzzy golden retriever ready to knock you down and lick you like a giant lollipop.

Hellion offers a startling and memorable portrait of adolescent life in downscale East Texas suburbia, along with a white-hot breakthrough performance from teenage actor Josh Wiggins.

This is a story of real heroism that will leave you weeping, laughing and singing.

An ingenious construction, much cleverer in psychological and symbolic terms than the story it tells, which mixes a schematic thriller and an on-the-nose fable about the corruption of American politics.

The heart of the movie is not in its plot but in its characters and atmosphere. Castaneda, a nonprofessional actor who runs a towing company in San Antonio, gives a towering, Robert Duvall-style performance as a granitic man in late middle age whose internal world of pain and love and knowledge occasionally flickers to the surface.

Majid Majidi's exquisite film The Willow Tree"is likely to make a very brief stop in theaters en route to home video, so catch it when and if you can.

It's a fascinating immersion within a highly ritualized Stone Age oral culture that, at least according to tradition, existed almost unchanged for thousands of years before the European arrival.

It's a terrific little movie, gritty, real, ironic, ruthless and deeply humane.

Despite its slick packaging and overtly facetious premise, director Matthew Cooke and producer Adrian Grenier’s faux-educational documentary How to Make Money Selling Drugs packs a wallop.

It's another blast of vibrant, vicious, gloomy electricity from the always-surprising Russian film scene, and the beginning of an important career.

I'm going to suggest, somewhat tentatively, that Bachelorette is most unlike "Bridesmaids" because it fundamentally isn't a comedy at all, but something closer to a dense, dark character drama tarted up in high heels and a short skirt and dosed with pills and coke.

Almodóvar isn’t just flashing back, retro-style, to the era of “Pepi, Luci, Bom” and “What Have I Done to Deserve This?” He’s also returning to a core principle of that era and of his work, which is that human sexuality, as much as it drives us crazy and makes us do stupid things, is also a force for the liberation of the human soul.

I enjoyed it from beginning to end, and if you've been lamenting the dearth of violent genre movies that don't assume the audience to be morons, you will too.

Sad, sweet and oddly inspirational.

Disturbing and extraordinary new documentary.