Gregory Ellwood

What you take away from Wendy, however, is that Zeitlin’s talent to soar cinematically remains intact. He can transport you to a fantastical world without the benefit of massive CG effects or a massive set on a gigantic soundstage.

Edgerton, who also wrote the screenplay, shows a masterful touch in playing with conventional expectations.

In the end, it’s a stellar turn from Sharp that dots the I’s and crosses the t’s when the tear ducts begin to flow. And you realize how marvelously constructed the whole endeavor is.

While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.

Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.

Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.

At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.

It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.

It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.

The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

Beyond Reitman and Keenan’s tight screenplay and a fantastic recreation of Studio 8H from production designer Jess Gonchor, the movie would not fly without an ensemble that may end up being legendary in its own right.

As the pieces of Ghostlight continue to unfold, it becomes increasingly clear what a smart and moving narrative O’Sullivan has put together.

Ultimately, not only has Park crafted an often hilarious and entertaining coming-of-age movie, but a surprise tearjerker.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

This sort of storyline could go wrong very quickly, but thanks to some fortuitously funny moments, Vallee’s assured direction and Gyllenhaal’s spectacular performance it’s surprisingly compelling. And, let’s be absolutely clear: it’s Gyllenhaal who keeps it all together.

Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.

To say Blanchett is good here is a grave understatement.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

What’s often most striking about Inside Out 2, however, is how the arguments and conflicts between these emotions often feel as though they are speaking directly to the adults in the audience.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.

Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.

Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.

What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way.