Marc Savlov

An informative and nonpolemic look at the birth of the modern environmental movement and its various offshoots and key players.

Of course, if you loathed the first film, this one probably won't do much to change your mind. But fans, and I count myself among them, of the Weitz brothers' unexpectedly enjoyable original will find themselves in a familiar and perhaps comforting place … filthy language, risqué situations, die-hard friendships, and all.

Sergio Leone and John Ford would likely both recognize Nowar’s film as an echo of their own Monument Valley adventures.

This time out, Nakashima plays it fast, loose, and seriously fucked-up with a father-daughter tale of Tokyo woe that makes Paul Schrader’s "Hardcore" look like a picnic.

True love is never having to say goodbye … because when you look in the mirror, there s/he is.

A wellspring of lowbrow comedy that leaves you giggling in spite of yourself. Truly, it does not suck.

There are few wins and more than enough sorrow to go around here.

Goosebumps 2: Haunted Halloween knows what its target demographic wants but also resonates with adult audiences, thanks to the zippy plot and across-the-board excellent performances from the totally game cast.

Despite a third-act tendency to gather a few spare genre clichés as it rolls along (Guns! Drugs! Angry siblings!), Robinson's film is a cut above the rest.

A genuinely moving portrait of the artist as a young(ish) scullery maid.

It's thanks to Akhtar's standout performance that The War Within is as electrifying as it is.

The Lost World (unlike Spielberg's original film) leaps head first into the action, rushing, it seems, to get the film's real stars -- the dinosaurs -- to the screen as quickly as possible, and it does so with considerable verve.

A countrified, monolithic thing of beauty -- gorgeous to behold despite the fact that its overlong two-hour-and-45-minute running time plays off Redford's weather-beaten golden boy good looks far too often for its own good.

Gets its teeth in you and shakes. Once it’s over, you find yourself replaying it on an endless loop in your head.

It's not nearly as complex and eerily existential as the director's debut, "Moon," but in its own way it's an even more satisfying time slice of identity-scrambled sci-fi.

Fraser, Martin, and the rest of the flesh-and-blood characters look like they’re having a ball, which translates instantly to the audience as well.

It’s bravura, classic Hollywood filmmaking, and you like to think that Hughes himself would have viewed it, if not appreciatively, then at least with a sense of kinship.

Set against the gray backdrop of Mao’s Cultural Revolution, this is old-school melodrama writ big from a director who’s probably better known to mainstream American audiences as the man behind the spectacular Wushu action epics Hero, House of Flying Daggers, and Curse of the Golden Flower.

It's smart; it's silly; it's – kill me now – shear terror.

Hardly a serious caper film, Out of Sight instead takes a lighter approach, effortlessly offering up as many unexpected chuckles as it does bullets.

Doesn't just raise the bar on sci-fi and action films, it rips that sucker off and sends it spiraling into the sun.

I was unfamiliar with X Japan (as they’re known outside of their home country) but after watching this thrilling documentary I’m a rock solid fan, scouring eBay for old concert T-shirts. As Gene Simmons notes, “If X had been born in America, they might have been the biggest band in the world.”

And Favreau? If you'd told me 12 years ago that Swingers' comic linchpin would end up helming one of the best, most visceral, and downright fun foray of all the comic-book franchises waiting in the CGI wings, I'd have told you to amscray, kid. But what the hell? Turns out irony's good for your blood.

This is an emotionally devastating piece of advocacy journalism, as it should be. It should also be mandatory viewing for both college-age teens and their parents.

Charmingly subversive animation like this is a rare thing indeed, and the fact that you don't have to be under 10 years of age to thoroughly enjoy Mr. Shrek's wild ride is an added bonus.

It's a visually stunning film. For every kid everywhere, and for every adult still a kid at heart, the dinosaurs are the thing, and here, finally, Disney does justice to our dreams.

The Israeli comedy Ushpizin begins something like Guy Ritchie's "Snatch" and ends like the Coen brothers' "Raising Arizona" – in between it's a wholly original movie.

It's a knockout, sucker punch of a performance, and although it doesn't completely erase the memory of Rapace (and why should it?), Mara's doomy gaze cuts through the hype and bores straight into your soul.