Marc Savlov

It's like the Sixties never happened, or maybe happened too much.

Although not directed by Hiyao Miyazaki (though he executive-produced and co-wrote it), the film retains the look and feel of the "Spirited Away" master's best work, allowing for huge emotions amidst a world of Lilliputian scope.

As uncomfortable as it is to have your nose shoved in this nightmare, its unforgettable in its violent lyricism and the bloody power of its message.

Trekkies is a hilarious work, mining the psychology of the average and not-so-average Trek fan, and coming up with the answers to all your burning questions about the show and its devoted following.

No matter how bad you may have it, you'll feel better about your own lot in life after watching the tumultuous sexual flailings of Marcela and Jarda (Brejchová and Luknár), a way, way, way down on their luck Czech couple.

Jack Black redeems himself (for Gulliver's Travels, among other things) with a subtly quirky performance that's one of his personal best.

Poses a problem for reviewers. The entire story hinges on a plot device that occurs roughly midway through the film and alters everything that has come before. To give away this massive, unavoidable spoiler would be disastrous and unforgivable.

It's the best-looking film of the year, hands down, and Thornton is dazzling, a dull diamond in the gutter rough.

Even some third-act deus ex machina scrambling can't homogenize the film's darkly cynical punch. Tough as nails and twice as hilarious, it's a remedy for summer treacle.

Put on your best Southie accent and say it with me: This film is wicked fahwkin' retahded and I loved it.

Constantine will likely hold far more interest for devoted fans of the series, but it's not necessary to have read the books to appreciate the film's sumptuous visuals and art direction.

For a first-time director like Barinholtz, The Oath is more than impressive. Tonally, it goes all over the place, but that only serves to keep the audience as off-balance as the characters onscreen. No matter what your political affiliation may be, this Orwellian farce is a candidate for President Trump’s least favorite film of the year.

Overall, it’s a satisfying wintry treat, as only Quentin Tarantino can do it.

Ultimately, Truman & Tennessee is a fascinating but melancholy mash note to the enduring friendship of two genius misfits who, despite constant self doubt barely masked by a raconteur’s seeming insouciance, rocked the literary (and cinematic, despite their mutual distaste for filmic adaptations) world at, in hindsight, just the right time.

A genuine cri de couer in the director’s long-running battle against the forces of censorship and a banal societal (and cinematic) status quo. And for those reasons along it deserves to be seen.

Suffice to say, this departure from West’s usual run of seriously freaky spook shows is a brilliant piece of work, cordite-scented sorrow, and last-laugh gags stabbed through with a discernible lust for life.

It's pure Bedlam, but for genre fans, Scorsese makes it feel like coming home.

A fine, near-seamless film that finally suffers slightly from an inability to wrap up its tale.

Spall and Meaney are mesmerizingly watchable in a film that’s 40% gruff dialogue and 60% seething silences.

True, the melodrama on display here can't compare to the likes of Larry, Moe, Curly, and the cannibals, but then this goofily charming quartet of Western outsiders is far more real than reel.

The spirited interplay between Goodman and Crystal is both wacky and, dare I say, charming.

Badham, however, keeps the whole thing up and running expertly -- it's interesting to note, also, that this Americanized version contains far more big-bang explosions and an elevated body-count than the French source material. Big deal. In a story as well done as this, a few extra bullet-hits only add to the delightful mayhem.

A simply flat-out fun film.

As Marston once put it, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who, I believe, should rule the world.” This reviewer concurs.

Bridges makes this sozzled and desperate ex-desperado – a cliché by any other name – as fresh and vital as one final shot at cowboy-poet redemption. It may sound crazy, but it's true.

At times it feels almost too busy with plotting. There's so much going on, and so much to take in, that it leaves you winded. But that's origin stories for you. No one ever said setting up a savior would be simple.

The Yes Men’s bravery and unflagging sense of optimistically doomed humor – which comes across as a quixotic version of Monty Python by way of Upton Sinclair – is to be applauded and, wherever possible, acted upon.

Despite its short running time, Being Elmo is an engrossingly layered documentary.