Bill Goodykoontz

It’s a horror-movie coming-of-age story, absolutely bonkers and gory and at its heart an art film about finding your own way in a world that has never made any sense since you’ve been in it, which is probably what the world feels like to any kid growing up, only most kids don’t have to protect themselves from zombies who want to devour them.

The look of the film is amazing. The animation, particularly when the dragons take flight, is seamless.

In The Disaster Artist, James Franco proves himself a good director, a really good actor and something of an alchemist.

As much as his admirers praise him, they also say they don't know much about him or his private life. Press opens a small window into that world.

Moors is neither showy nor exploitative in his telling of the story. He just lays out the details, making “Blue Caprice” not just a story of horror, but of tragedy.

This is World War I from a woman's point of view, a different perspective than we usually see. It's the story of someone who doesn't fight — who would be so shaped by tragedy that she would vow never to — but for whom the horrors of war are just as vivid and devastating.

Like Someone in Love is not a complicated story, but in Kiarostami’s telling, it is a rich one, and a rewarding one, too.

Where Assayas’ film really shines is in capturing that feeling, when adolescence is stumbling awkwardly toward adulthood, that the most important thing in the history of the world is the thing that is occupying your thoughts and emotions at this particular moment.

It's easy to get carried away with movies like this, which lend themselves to fanboy hype. It's not a perfect movie. But it is one that is hugely enjoyable, bears repeated viewings and will be as funny in 10 years (or 50) as it is now. And that's pretty swell.

If you’re a student of history or a Wikipedia devotee, some aspects of the film, particularly its conclusion, might bother you. But they shouldn’t. Watch a documentary if you want straight facts. Watch what Kreutzer and Krieps have come up with here for something more.

The film is a fascinating struggle between Balram’s promise and capability and the generations of ingrained, unfeeling privilege that stacks the deck against him.

What's exciting about the film is the confidence Hittman brings to it, particularly with her visual choices. The dancing in particular is striking, with surprising cuts and edits. It Felt Like Love isn't a great movie, but it is a promising one, for everyone involved.

[A] searing, perversely thrilling drama.

The Trial of the Chicago 7 is something unexpected, fun. Sorkin trusts his instincts. Maybe real life has made it so that nothing seems over the top anymore. Whatever the case, it makes the film something else, too: timely.

It takes shortcuts to do it, but ultimately Flora and Son will make you happy. And what’s wrong with that?

An Honest Liar is a fascinating look at what the truth means, and how it means different things to different people. It's also a reminder that no one has a monopoly on it. Not even the Amazing Randi.

Things go a little haywire at the end of the film when the story falls apart a bit — endings are tough, on Twitter and in theaters. But till then, it’s a non-stop thrill.

We Steal Secrets: The Story of WikiLeaks is at once an awkward mingling of two complex life stories and a gripping, necessary look at how information is gathered, shared and, yes, stolen.

It’s a horror movie that is actually scary; it’s got a good idea that feels both relevant and contemporary; and it’s really gross. (That’s a plus — it is a horror movie, after all. Sometimes they skimp.) I just wish I understood its logic a little better.

This is a really good movie made by a terrific talent, stunningly shot and confidently directed.

Never miss a chance to see Helen Mirren. You certainly could do worse as far as movie advice goes. Mirren may not be the only reason to see The Last Station, about the final year of Leo Tolstoy's long, eventful life, but she's the best reason.

Wingard and screenwriter Simon Barrett last worked together on You're Next, a ferocious film that is also intelligent. They're even more successful here.

A terrific piece of entertainment. The financial lingo will please money wonks. But the film as a whole focuses more on the people and personalities who went into such a catastrophic failure.

The acting is outstanding. And there's a lot of humor. True, we're often laughing at Philip (when we're not cringing), instead of with him. But Perry also goes for more traditional laughs.

In Bethlehem Adler tries to make some sense of that world, and to the extent that it's possible, succeeds.

The Wonders is one of those films that's easier to experience than explain, which is almost always a good thing.

Gadot is terrific, capturing perfectly the grace, power and heroism of the Amazonian princess who must make herself present in the world to save it.

The acting is outstanding all the way around. But Stewart is brilliant. She looks, sounds and moves amazingly like the real Diana, but this is no impersonation. Instead it’s Stewart getting to the heart of the truth through her performance, her Diana a prisoner of the fame and adherence to tradition at all costs that trapped her.