Eric Kohn

The movie casts an unmistakable spell out of Pfeiffer’s ability to imbue Kyra with a profound sense of sorrow.

Magic Mike casts a seriously entertaining spell.

Although wobbly in parts like so many cinematic anthologies, Garrone's alternately silly and entrancing adaptation of Giambattista Basile's Neapolitan stories provides a welcome gothic antidote to more stately treatments of similar material.

Above all else, however, Mortensen gives Captain Fantastic its underlying credibility.

Epic in scope yet unassuming throughout, Linklater's incredibly involving chronicle marks an unprecedented achievement in fictional storytelling.

[A] hypnotic midnight movie, which veers from astonishing, expressionistic exchanges to gory mayhem without an iota of compromise.

As an experiment in filmmaking trickery, All the Money in the World is an extraordinary viewing experience; without that, it’s a compulsively watchable rumination on the worst of the one percent.

At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.

If you've never heard of LCD Soundsystem or cared much for the group's work, Shut Up and Play the Hits still manages to explore the prospects of fame and contemporary rock music's lasting relevance.

It’s always fun to sit through a clip reel when the talent quotient is this high, but Belushi doesn’t sugarcoat the sadness at the core of the actor’s legacy.

Even as the movie lingers on the question of whether one woman has more talent than the other, Always Shine is an effective actor’s showcase for both of them.

Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.

"Dick Long,” which stems from Billy Chew’s script, lacks the same abstract weirdness that made “Swiss Army Man” such an indelible cinematic delight. It has more intimate aims — humanizing a couple of brutish morons by mining substance from the silliness, and arriving at the conclusion that crass white-trash stereotypes have feelings, too.

Unlike "Citizenfour," there's not a whole lot here that hasn't already been revealed through the scrutiny of Assange's iconoclastic legacy, but the filmmaker's skillful treatment of the material yields another look at major historical events on an intimate level.

There’s certainly enough here to provoke meaningful questions that transcend the boundaries of the frame, and Nine Days hits a commendable note about the value of embracing life’s unpredictable turns. But no matter its celestial implications, the movie can’t shake the impression of a brilliant concept that never takes flight.

Exhibition infuses its cerebral exposition with a strong dose of humanity.

Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.

The result is relentless and involving even when it stumbles. Jolie may not be a full-fledged auteur yet, but she unquestionably possesses a singular aesthetic that courses through her work and exists completely apart from her high-profile acting career.

Unlike the polished universe of Pixar's "Brave" or countless other recent CGI efforts, ParaNorman maintains a delicate, handcrafted look that underscores its ideas.

The filmmaker sticks close to the theatrical roots of the material, sometimes stumbling on wordy, overzealous monologues that might land better on the stage. But the cast goes to great lengths to sell the premise.