Megan Lehmann

A sublime variation on the buddy road movie, infusing the midlife crises of the two main protagonists with hope and poetry.

It is an important, thoroughly bewitching work of art.

Chance encounters and fated love are the stuff of fairy tales, which is what makes the deliriously romantic sequel Before Sunset a small miracle.

Anderson gives The Machinist a sickly noirish look that contributes to the creeping horror - but it's the emaciated Bale's spectral presence that leaves the imprint.

One of the year's most engaging films.

More than a ripped-from-the- headlines drug drama, Maria Full of Grace is like a horror movie made real.

As this Woodstock-on-wheels careens through the countryside, stopping only to play for thousands of hirsute revelers -- and, once, to stock up on booze in Saskatoon -- its famous passengers celebrate with delirious joy the pure, unadulterated magic of music.

Exhilarating, opaque, heartbreaking and completely bonkers – French auteur Leos Carax's so-called comeback film, Holy Motors, is a deliciously preposterous piece of filmmaking that appraises life and death and everything in between, reflected in a funhouse mirror.

This wonderful party of a movie, as totally original as its hero, stamps on a smiley face that will linger for hours.

Brilliantly idiosyncratic.

A love letter to a New York neighborhood that is rapidly disappearing -- a tight-knit Dominican community.

A thrillingly vicarious experience that answers a primal urge to join our feathered friends as they soar and glide in the blue beyond.

Kosashvili's clear-eyed approach to the cultural tradition of arranged marriage balances respect and scorn, and he reconciles the comedy and tragedy inherent in Zaza's tug-of-love with finesse.

A hilarious, pitch-perfect comedy.

[McCarthy] marries beautifully spare compositions with comically abbreviated dialogue to craft something magnificent from a vaguely precious premise that could easily be the foundation for a parody.

There's a carnivalesque medley of subplots scampering about the screen, but Serreau manages to emerge triumphant with all the threads nimbly stitched together.

More than a celebration of Chaplin's art; it is a thorough examination of what made this gifted artist, the world's first true celebrity, tick.

It's mostly a political thriller, contingent on a love story. It's kind of noirish, subtly humorous and intermittently confusing.

Sometimes teeters on the verge of going completely over the top, but it's mostly saved by its own self-awareness.

Like a bomb exploding in a fireworks factory: It's fierce and shocking and dazzling and wonderful.

All the elements are in place for an entertaining murder mystery, but as Bigelow meanders aimlessly back and forth through time, the plot becomes increasingly water-logged.

Engrossing.

Psst! Wanna vicariously experience a consciousness-raising LSD trip and watch Sarah Michelle Gellar star in some explicit sex scenes?

An interesting addition to a genre that tends too often to disregard artistic technique.

A documentary mosaic of kooky Americana.

See it only for Paul Bettany's performance.

A joyous, toe-tapping celebration of a musical style born of sorrow.

The family at the center of "Catch" is likable and authentic, but the seriousness of their plight sits uneasily with the shoddily assembled escapist goof it generates.