Randy Cordova

This is a wonderful movie.

Thanks to the nicely layered characters and a near-perfect mix of action and merriment, the movie feels wonderfully vivid and alive.

The movie just hits the nail on the head: that sense that we're just going through life, trying to navigate it the best way we can in each moment. There are a lot of things to love about Truman — including the dog — but that could be one of its best and biggest attributes.

Once the movie is over and you realize how the filmmaker has turned the tables, you can't help but be amused — and amazed.

People Places Things is filled with that kind of heart-piercing comedy that makes a viewer cringe and laugh at the same time.

Gregg really reaches far, scattering in bits of magical realism and an art-house ending that is simultaneously wondrous and a trifle heavy-handed. The finale may be a bit much for some, but movie buffs will likely give Gregg the benefit of the doubt.

It actually is quite funny. It is also warm and empathetic, though a viewer's reaction to the film might vary depending how they view the subject of assisted suicide.

Director Craig Zobel (he made the creepily effective “Compliance”) lets the story unfold in wonderfully hushed fashion.

The most remarkable thing about Ira Sachs’ richly textured new film Little Men is how it manages to be about so much, and yet so little.

The characters in the film don't shed tears, but you'll be fighting them at certain points. Pain and Glory stays with you, and grows richer with reflection.

It's clear-eyed and remarkably honest, and Macdonald shows a flair for illustrating how Houston's life fits in the bigger picture

As a love letter to a talented and endearing soul, it's hard to fault Love, Gilda. Like its subject, it feels remarkably honest and genuine.

The movie’s best moments are the small ones.

Trapero handles the movie's pacing with a masterful ease.

A scary fun-house ride that expertly blends jittery tension and laugh-out-loud humor.

For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.

The charms of the leading ladies are hard to resist, as are their rare moments of clarity and self-awareness. Saunders is a tumbledown hoot while Lumley can generate a laugh with simply a deadpan stare, yet both seem a tad more human this time around. Just a tad.

Den of Thieves isn't a masterpiece by any means, but it's fun, exciting and hard-boiled, and the actors are doing solid work.

Sneider, who keeps the tone starkly unsentimental, manages to stay fairly neutral with the couple. Both characters are wildly flawed, and you can feel your sympathies shift during their knock-down, drag-out fights.

The cast is excellent, anchored by the one-two punch of Colunga and Yañez.

It is high-spirited, buoyant and full of laughs.

Despite the film's predictable nature, it's hard not to become engaged. The performances are excellent and Härö directs with a clean hand, pushing toward a suspenseful, stirring climax that hinges on the team's success as well as Endel's freedom.

If anything, the movie's third act is the only thing that feels a bit a disappointing. The plot is carefully constructed, the performances are rich (both girls are excellent), the characters are believable and a sense of dread grows throughout. Heck, the movie is even great to look at, with its period sheen and slightly muted colors.

The characters are fully rounded, and you wind up emotionally invested in them.

Freeland does a fine job, waiting for her characters to converge in a way that doesn't feel overly forced, though there is a bit of that "Crash" tidiness in how things fall together. Still, the film is moving and human.

Call it a battle-of-the-sexes comedy set in a devout Orthodox community in Jerusalem. But, in its own quiet and friendly way, the film goes deeper than that, looking at how conservative religious views can clash with more moderate ways.

An affectionate documentary.

It's fascinating and unpredictable, so much so that the fate of Irene almost becomes a secondary concern. And thanks to the very clever and very compassionate way that Farhadi has crafted this film, that's not a flaw.