Owen Gleiberman

Raimi has made the most crazy, fun, and terrifying horror movie in years.

A funny and madly arresting new documentary.

Quills bleaches the danger -- and fascination -- out of De Sade, turning him into a kind of mad saint of ''Masterpiece Theatre'' porn.

Huppert has never been this cheerful, or lethal, and the movie itself is like Hitchcock's ''Rebecca'' reshot for House & Garden, with all the ghosts pulled out of the closet.

Up in the Air is light and dark, hilarious and tragic, romantic and real. It's everything that Hollywood has forgotten how to do; we're blessed that Jason Reitman has remembered

A fascinating film -- more docudrama than biopic.

The phenomenon of rape culture has emerged, more than anywhere, from the frat house (and from spring break, that ritualized bacchanal for kids who aren’t necessarily in frats), and it has been growing there — metastasizing — for decades. Roll Red Roll captures, with potent power, how the “If it feels good, wreck it” ethos of the beer-pong drink-till-you-submit forced “hookup” is finding more and more of a home among high schoolers.

A haunting and incandescent work of art.

The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.

King turns One Night in Miami into a real movie, staging it with a flowing visual confidence and vibrant emotional flair that gives it a fly-on-the-wall authenticity.

A vital and sobering documentary directed by Roberta Grossman, always knew that they were drafting the record of an existence whose memory — were it not for them — would be wiped away.

It’s witty and moving but a touch repetitive, and it goes on for too long. That said, Jenkins has made the most intimate comedy imaginable about the fertility blues. Private Life hits some delicate nerves, and heals a few of them too.

Watching Moonage Daydream, there are essential facts you won’t hear, and many touchstones that get skipped over (in the entire movie, you’ll never even see an album cover). But you get closer than you expect to the chilly sexy enigma of who David Bowie really was.

The Pentagon Papers marked an iconic moment in American history: the press claiming its own freedom to call out the excesses of power. The Post celebrates what that means, tapping into an enlightened nostalgia for the glory days of newspapers, but the film also takes you back to a time when the outcome was precarious, and the freedoms we thought we took for granted hung in the balance. Just as they do today.

The rare movie that turns cruelty into art.

Lands on an imaginative fault line somewhere between tackiness and awe.

It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.

One emerges from Breaking Point stunned and moved, with the realization that the Ukrainians are fighting for themselves, as they have for centuries, but also that they’re now fighting for all of us.

The beauty of the documentary is that Mitchell invites the audience to share in the transformational quality — the life force — that he experienced in Black cinema.

A richer, stronger, and more moving piece of work [than Philomena], a historical detective story that carries the kick of a true-life “Da Vinci Code.”

Memento, which may be the ultimate existential thriller, has a spooky repetitive urgency that takes on the clarity of a dream.

Keira Knightley, in a witty, vibrant, altogether superb performance, plays Lizzie's sparky, questing nature as a matter of the deepest personal sacrifice.

Is any of this, you know, fun? Just barely. But I'm sure I would have loved it at 6.

The bar for rom-coms is not high, and this one, ludicrous as it often is, inches over the bar. But I would no more call it a good movie than I’d pretend fast food is high in nutrients.

Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.