Eric Kohn

MLK/FBI reveals shocking behavior by the American government, but the most troubling aspect of its revelations is that nobody had to answer for it.

Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.

As with every beautiful, unearthly segment of "Pigeon," the only certainty is life's endlessly puzzling nature.

Inherent Vice constantly teases at a complex meta commentary on the other movies it brings to mind, but never totally gets there.

Commissioned as propaganda, Under the Sun instead documents life inside its grip.

Three Identical Strangers does a solid job laying out a story that’s both remarkable and repulsive in equal measures.

Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.

At times more in line with "Blazing Saddles" than the grimly bawdy qualities that define many bonafide oaters, Django Unchained erupts with a conceptual brilliance from the outset that never fully meshes with its clumsy storyline. Nevertheless, it's a giddy ride.

Too in love with itself to ever totally go off the rails, Pacific Rim doesn't qualify as the first full-on dud of del Toro's career, but it's hard not to get the sense that something's missing.

Sister may not arrive at a happy ending, but the lack of resolution -- capped off by the powerful last image --completes its journey to a place of rousing emotional clarity.

Shot in gorgeously expressionistic black-and-white and fusing multiple genres into a thoroughly original whole, Amirpour has crafted a beguiling, cryptic and often surprisingly funny look at personal desire that creeps up on you with the nimble powers of its supernatural focus.

A brilliant home-invasion thriller laced with cultural reference points stretching back to the late ’80s, and a smorgasbord of first-rate visceral cinematic scares. Think “Funny Games” collided with Cronenbergian body horror and Hitchockian suspense, and you’re maybe halfway there.

In the struggle to tell a story, Panahi reveals the redemptive power of art. No longer issuing desperate pleas, he has turned to cinema for the sake of survival.

Visually dazzling and loaded with charm, the movie is also blatant in its quest for cultural sensitivity.

A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.

Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.

Melancholia hovers in ambiguity with riveting aesthetic prowess.

Possibly the best war movie of the year.

As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.

TransFatty Lives stands out less for its inherently emotional topic than the appealing personality at its center.

Mackenzie (whose previous credits include "Perfect Sense" and "Young Adam") applies a sharp kitchen sink realism to this haunting setting and directs it toward an ultimately moving family drama that just happens to involve vicious convicts.

Seimetz has conjured a beguiling narrative so tapped into the current worldwide panic that it might have been made in its aftermath.

Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.

With its intimate focus, Menashe avoids indicting the strict logic that stifles its anti-hero’s individuality (though secular viewers can reach their own conclusions). Instead, it succeeds at showing how his challenges are more universal than judgmental viewers might think.

Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.

If The Nest amounts to an elaborate exercise in style, at least it matches the material. Rory’s obsessions are all surface and no depth. For better or worse, the movie follows him into that void.

Damon and Bale are such magnetic onscreen figures that it doesn’t take much to inject their various arguments, smarmy asides, and high-stakes bets with plenty of intrigue.

Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.