Kevin Jagernauth

The 90-minute documentary doesn't pretend to be anything more than it is: a love letter to a great comic, providing a digestible version of its history with an eye to its legacy.

This sly and clever reverse reworking of romantic drama tropes warmly suggests that there can be as much hope and connection to be found in splitting up as there is in coming together.

It’s one of the most refreshing and satisfying Marvel movies in some time, precisely because its willing to do many things that Marvel hasn’t done before.

La Grande Bellezza washes over you in series of scenes, visages, sensations and impressions, and although in this case it doesn't quite gel into a cohesive whole, it's nonetheless a journey worth taking; a travelogue through memory and dreams, in which life is greatest fiction we could ever create.

Throughout, in an approach that gets close to the workers, activists, and more who help the staff at Hot And Crusty, Blotnick and Lears excellently merge the personal and political, but in a manner that never feels like it's proselytizing.

With “Free Fire,” Wheatley wants to push his own limits of onscreen mayhem, taking things right to the line where most directors would pull back, and pushing everything right over. And what the director winds up doing is making a big, magnificent noise, one that will certainly see more than his core fanbase sitting up and paying attention.

The Strongest Man isn't flashy, moves to it's own unique rhythms, and glides along with a very specific sense of humor. But to the observant eye, and patient viewer who decides to hop along with the film's welcoming tone, they'll witness the voice of a filmmaker bursting with ideas and a number of ways to share them, even if he hasn't quite found his storytelling footing just yet.

As Night Will Fall shows, even in the darkest hour, sometimes the greatest heroes are those willing to stare bravely into humanity's worst depths and tell the world what happened.

Despite the fine performances from McConaughey and Leto, tightly coiled editing that keeps the story moving and a nicely measured balance between drama and comedy (McConaughey is often a hoot), Dallas Buyers Club still sometimes feels like it's missing one more grace note.

For those willing to invest in the lives of these characters, even if the framework around them directly and without apology guides them toward inevitable tragedy, they will experience a drama of deep, genuine feeling.

A fascinating look at the juggling act of a man who is succeeding in public, but still trying to find the answers in private.

The documentary is often fascinating, even as it eschews any kind of traditional narrative.

This is a tremendously well written piece of work, with impressively developed characters, with scene after scene that further enriches and deepens our comprehension of their actions, yet never judges any of them. It certainly helps that Farhadi gets quartet of excellent, pitch perfect performances.

Sorkin’s swordsman-like pen continually keeps the picture engaging; his knack for one-liners and absurd dialogue detail remains finely attuned.

Mia Wasikowska and Jessica Chastain both shine as the love interests for Jack and Forrest respectively, allowing those characters to have something beyond their business to be fighting for, with the skill of both performers allowing them to be more than just window dressing.

Porter's film is not just a stirring testament to those taking on a Herculean task of bringing some sense of fairness and balance to an out of whack structure, but a reminder that there is still a far distance to go before everyone is equally represented in front of lady justice.

I'm Carolyn Parker isn't so much a movie title, as a "Spartacus"-like shout that, if we all embraced, would make us a better people and country.

Hachmesiters's Three Stars is a treat, largely because it eschews the standard arc of documentaries.

The insider look at the industry is appealing, and Seduced And Abandoned is enjoyable but lightweight, and if anything, reaffirms that art doesn't come easy.

The sincerity and honesty of the stories within, as odd as they are, make The Final Member worth seeking out.

Running a tight 80-odd minutes, Williams' documentary is as concise as it is affecting and powerful, but he leaves just enough room for some indirect hits at some of the more loathsome subjects of the documentary.

While aesthetically it doesn’t do much to break the form, it more than succeeds in presenting Joplin as a flawed, insecure, deeply brilliant woman who, unfortunately, couldn’t shake her demons.

Pawn Sacrifice certainly whips up a dervish of energy, and as a piece of dramatic entertainment, it's mostly engaging, and features character actors doing very good work.

While the film never reaches the kind of emotional peaks of James’ best work like “Hoop Dreams” or “The Interrupters,” Abacus: Small Enough To Jail is no less compelling. And it serves a very important reminder, particularly at a time when more than ever, it seems banks are putting profit in front of people.

It's rare to see any blockbuster in any genre make decisions informed and driven by character, rather than by the more superficial requirements of blockbuster entertainment, but the rewards in that regard are plentiful in Mockingjay.

Batra's film is ultimately less about love than about the vulnerability relationships place us in emotionally, and courage required to move past pain, and experience life again after we've been hurt.

Big Sur rises and fades, shifts and moves, through movements and melodies, singing a beautifully sad song for an era and a man who lost his way.

While the material might be the substance of a handful of reality shows you could easily watch on television, there is only one Jake "The Snake" Roberts, and his story matches the epic highs and lows of his life.