Chuck Wilson

Chris Teerink's superb film documents the work of artist Sol LeWitt (1928-2007), whose legacy lies not only in past accomplishments, but in the work he left for others to complete.

The film's finale is wild and daring and so perfectly executed that it marks Wright as one of the film year's most audacious new voices.

A Quiet Place is full of fabulous, virtuoso action set pieces, but mere hours after seeing it, what I’m already flashing on the most are the ways in which each member of this family, children and adults alike, tries to carry the weight of their central burden, which isn’t fear and dread, but guilt and grief, two monsters no third act plot twist can ever quite vanquish.

Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.

It Felt Like Love is brilliantly, brutally tactile.

A Prayer Before Dawn feels scarily authentic, and may be too much for some. But there are moments of grace amid the setting’s despair.

Housebound is a tad long, and its murder mystery a bit of a muddle, but that doesn’t matter. The final third is virtuoso.

The Belgian Roskam, making only his second feature film, and his first in English, displays remarkable assurance, with both the actors and the film’s very American setting. He creates an escalating sense of dread, tinged with Lehane’s brand of mordant humor.

There's no denying the overwhelming force of the giant IMAX screen, as we're reminded that each of us is the coolest special effect ever.

Maintains a reflective, bittersweet tone that's almost tactile.

The superb ensemble never plays for sympathy, and the movie isn't as depressing as it may sound. Its hushed, contemplative quality is oddly affecting.

Lowery isn't a Malick and he's certainly no Kazan, but he's his own man, and a filmmaker to watch.

While Parker and co-writer Catherine di Napoli are faithful to Melville’s plotline, they and a fully engaged supporting cast — have made the old boy's characters more quick-witted than any English Lit major would have thought possible.

The last-minute details of plot can't compete with the frightening intensity of Kiberlain's and Garcia's performances, which trace, with brilliant precision, the exhausting mix of brutality and grace inherent in the mother-daughter relationship.

While it's Dave's madly humming brain that propels the film, Davis, whose every glance is a short story in itself, makes Dana's internal crisis equally resonant.

[A] pitch-perfect, deeply affecting film.

To use a phrase from the film, The Armstrong Lie is a "myth-buster." It's wholly necessary, brilliantly executed, and a complete bummer.

[A] superb coming-of-age drama.

Both a thriller and meditation on the loss of innocence, Super Dark Times is rich with the minutiae of a bygone era...but Phillips and screenwriters Ben Collins and Luke Piotrowski press hard against the instinct for nostalgia.

This very funny, very British movie -- directed by newcomer Garth Jennings -- has sci-fi effects that are impressive yet appropriately cheesy.

Returning director Rob Minkoff (The Lion King) and screenwriter Bruce Joel Rubin (Ghost) have done a fine job of updating White's dry wit to a new age, led in no small measure by Lane, who could probably make the IRS code book sound funny.

Surprisingly smart film.

From cinematographer Corey Rich's beautifully framed footage, Wampler's wife, Elizabeth, making her directorial debut, has assembled a stirring film that's part documentary, and part promotional tool.

For these gifted directors and their fine ensemble, the notion that every life forms into a mosaic of intimate, largely unobserved details is the story most worth telling.

Reynolds, working in close harmony with cinematographer Andrew Dunn (Gosford Park), brings an infectious brio and an occasional sweeping grace to the classic trappings of Dumas.

Recognition (and compensation) proved elusive in Lamarr’s lifetime, but in this marvelous documentary, a brilliant woman — “I’m a very simple, complicated person” — finally gets her due.

Moving and vibrant Italian-language film.

It's fine stuff, beautifully played, but there's no denying that viewers will have to be patient with this 80-minute chamber piece, the first third of which feels cold and false, only to suddenly shift into unexpectedly deep emotional territory.