Marc Savlov

Director Howard, his actors, and indeed the entire salty sweep of the film are all aided tremendously by visual-effects supervisor Jody Johnson and his team’s spectacular combination of live action and flawless, awe-inspiring CGI creations, chief among them the great, white whale.

Like the doomed vessel from which it takes its tale, Cameron's film is a behemoth, svelte, streamlined, and not the least bit ponderous.

Unfamiliar to most these days and it goes without saying that Harris performs a great service in the eyes of history with his film.

The portrait he (Hossain) paints, while visually arresting thanks to cinematographer Sabine Lancelin’s eye for Dhaka’s colorfully saturated and gritty milieu, is a grim one.

Hopper, unsurprisingly, devours scenery like he's already dead and loving it, but for once his penchant for overacting is overshadowed by the real stars of Romero's world: They're dead, they're all messed up, but it's great to finally have them back in town.

With The Guest, Wingard and Barrett have once more upped the ante for the indie horror flick pack.

Helgeland's film positively seethes with bad vibrations; it's kicky, nasty urban sangfroid with pointy little teeth and a serious case of the angries, an existential hand grenade disguised as a heist film.

Open Windows has plenty to say about both the death of privacy and the dominion of the always-connected digiverse we now inhabit, and editor Bernat Vilaplana does a remarkable job of keeping the film’s frenetic pace rushing headlong toward an ending that you’ll never see coming.

The "Citizen Kane" of Oedipal zombie-cannibal-right to death-comedy-love stories... So gleefully over-the-top that it's decidedly hard not to gag while you're laughing yourself incontinent... Sick. Perverse. Brilliant.

The film’s love for its subjects is mirrored in their passionate frenzy for words, and language – spoken, written, body – in general. Above all, and what sets it apart from other cinematic takes on the Beatified, is how much fun it is. It may end in tears, but then, don’t all great love stories?

It's a disturbing film on many, many levels, but beautifully shot (by Seamus McGarvey) and shot through with a horrific sense of false hope. The kid is not all right.

Great fun to watch, thoughtful and timely, Thomas in Love is likely to generate some decidedly interesting post-film conversations as well.

Director Ben Young’s first narrative feature is loosely based on actual events, which makes watching this psychological horror show all the more harrowing.

Easily one of Disney’s more imaginative and detail-oriented CGI offerings in a while, Zootopia uses the classic tropes of anthropomorphized animals and comic references to pop-culture touchstones to slyly puzzle out what it means to be “civilized.”

Plenty of killings abound, nevertheless the film is a masterful -- albeit warped -- love-story-cum-road-movie that revolves around three of the most invigorating performances of the year.

Based on actual events, this claustrophobic epic is as emotional as they come: a Holocaust story shot through with a layer of darkness both literal and figurative

Steeped in bleak, ominous atmosphere and period-perfect costumes and design, this is one of those rare genre films that gets under your skin and stays there.

It's not so much the individual storylines that grab you, but Curtis’ unrelenting optimism. In the end, it's nice to know that love, actually, does conquer all.

Truthfully, it's hard to imagine a better screen adaptation of this queer household. Addams would have been proud.

The less said about The Ring, the better for you, the sooner-to-be-freaked-out.

This is a Farrelly film for adults, if not the entire family, and its a charmer, honest both to the nature of the loves we choose in haste, and the fear that makes us so hasty so often.

Scrappy, powerful, and shocking.

Reality has overtaken the movies here, which, I suppose, makes T3 all the more cathartically appealing. At least onscreen we have Arnold Schwarzenegger in our corner.

With centrifugal force on his side, Spider-Man dips, weaves, and whooshes past, up, and around the camera -- it's a rush, and it plasters a grin on your face even after you've left the theatre.

Hero dips into the world of Capra's Meet John Doe, and comes up with an even more repellant visage of the Media/Citizenry connection than that film.

Smith's film is a celebration of quirkiness, eccentricity, and certain individuals' tendency to let it all hang out, and damn the consequences.

A consistently entertaining parody that never once makes you feel like an idiot for laughing out loud at its idiocy.

A slam-bang, sci-fi actioner, relentlessly paced and edited, with a pounding soundtrack and some ingenious aliens courtesy of Berni Wrightson and KNB Effects.