A fun and thrilling film which at times plays like a car race somebody stuck a movie into the middle of.

A sharp turn on the romantic comedy, a movie about flawed people doing flawed things, often in funny fashion.

Naharin’s dances, amply illustrated from decades’ worth of film, is visceral, emotional and sometimes shocking.

This is a crazy movie, in the best possible way. Body horror films have to be willing to get nuts to really work ― “The Substance” knew this, for instance. And Franco and Brie, along with Shanks, fully commit to this.

The film doesn’t need to make a case for Marina’s basic humanity and smartly avoids clichés of persecution storytelling, instead ceding the floor to Vega’s magnetic presence and soulfulness. She is a marvel, and if one doesn’t come away loving her as Orlando did, it’s no shortcoming of the film.

A fanboy's dream come true, a smart take on a smart comic that actually looks the part, with performances that make it worth watching for the rest of us, too.

It’s quite good, thanks to the sturdiness of the story, the jaw-dropping visuals and, most importantly, the one thing the first film didn’t offer: Emma Watson.

There is a predictability to the story, but that's OK. The acting is superb, Holbrook in particular, making That Evening Sun an understated pleasure.

Blue Ruin is a movie about revenge, but it reaches far past the bottom-shelf titillations of fantasy to tell a richer, character-driven story with a protagonist who's less avenging angel than ghost.

City of Ghosts isn’t merely about the personal sacrifices of these men, but a testament to the necessity of a free and open press the world over.

There is an honesty in this performance, a genuineness that really elevates the film. It’s not always easy to watch, and it’s certainly not a lot of fun. But it is impressive, and that’s what carries it.

With a filmography stuffed with masterpieces, the Coen brothers’ greatest trick is balancing the ironic commentary on cinema and storytelling with the dramatic impact of compelling human stories well told. And it’s a trick they pull off again and again.

Tremendously entertaining.

The movie is more a collection of cool people telling great stories than it is a structured documentary (despite Camalier’s attempts in that direction). But in this case, that’s enough.

Philomena could have been a sappy movie, but it’s not. Instead, with such assured performances, it’s proof that sometimes a laugh makes swallowing a big dose of outrage a little easier.

Edge of Tomorrow repeats itself without being repetitive, takes itself seriously while providing some laughs and offers plenty of action without short-changing us on the intelligence front.

Gordon-Levitt has been so terrific for a while now that he's become a magnetic presence; Willis is also on a nice streak, not as strong here as in "Moonrise Kingdom," but still quite good.

Everyone in the film is good. Offerman and Megan Mullally (as the principal at Kate's school) do well in more-dramatic roles than we're used to seeing them in. Mary Kay Place is harrowing without meaning to be as Kate's mother. [25 Oct 2012]

I liked Moana 2 better than the original. Its story is darker and more challenging, its stakes are high and its message is surprisingly contemporary and relevant.

One of Them Days is proof that a good, old-school style comedy is still achievable with perfect casting, even when it's a story we've seen time and time again.

One of the things that really makes “Companion” more entertaining than it might otherwise have been is the strength of the supporting cast. Gage and Guillén are particularly good as a mismatched couple who discover more about each other during the admittedly eventful stay at the cabin.

Roadrunner, however, lays out a convincing case that Bourdain was in pain for much of his life, desperate for answers. But even he may not have known the questions.

American Honey is a remarkable movie, which doesn’t mean it’s perfect — its imperfections, in fact, are what help make it so urgent, so vital, so real.

Director Roger Michell ("Notting Hill") has the good sense to step back and let Broadbent and Duncan work their magic on Hanif Kureishi's script. They don't disappoint.

The music and the group are uplifting. The stories are inspiring.

More than simply a look at the conversion therapy, the film examines the bonds between parents and children.

It's a movie that should be seen, a throwback to a looser, freer cinema. Wake in Fright has a tremendous '70s vibe to it, a "they-don't-make-them-like-this-anymore" feel that is as welcome as a cold beer in the Outback. [25 Oct 2012]

Fire Island, Andrew Ahn’s romantic comedy that is basically “Pride and Prejudice” with gay men, is an utter delight.

It’s not quite the triumph that the exquisitely excruciating “Listen Up Philip” was, but it’s another example of Perry’s behavioral alchemy that’s well worth checking out.

The enormously appealing thing about Glass Onion is watching the cast have an obviously good time with their characters and with each other.

There is an honesty to The Perks of Being a Wallflower, a genuineness of experience that makes the movie soar when it just as easily could have stumbled.

Wicked isn’t the best movie you’ll see this year, but it’s almost certainly the most movie. … There’s not a frame wasted, not a second of down time. It’s a little like having dessert for dinner, as well as for the appetizer and dessert again, too. And it’s fun, a good time at the movies.

The Theory of Everything breaks down simply, perhaps too much so: a great performance in a good movie.

Berg immerses us so completely into the horror of these men’s situation that we are gripped throughout. The fighting is incredibly intense.

Demange's busy camera is effective in conveying the chaos swirling around Hook. If we can't always tell exactly what's going on, neither can Hook. It ratchets up the tension considerably.

What Sauvaire shows in these films is the intense human emotions that infuse these dramatic action movies.

Like a good episode of "Smallville": You may feel a bit silly watching it if you're past high-school age, but you just might have a good time.

The performances are outstanding.

Red isn't a great movie, but it's great fun, and if that sounds like damning with faint praise, you take things too seriously.

At 2 hours and 43 minutes, it’s a long goodbye for Craig. Too long, really; parts of the last act drag a bit. But as Bond says earlier, “Letting go is hard.” In “No Time to Die,” it’s also satisfying.

With Transpecos, Kwedar doesn’t offer any easy answers. Instead he points out the problems, how entrenched and intertwined they are, and asks other questions: How far will you go to survive? And will it be enough in the end?

Do I wish I saw more of Fassbender on my screen? Of course. Does it almost not even matter because the main three actors/musicians carry the movie so well? Also yes.

Waves is definitely not a film for everyone, but it has hidden depths that will reward the patient.

Bros is a truly funny, smart and well-written romantic comedy about love in all its forms, and that's something we can all use more of in our lives.

It’s not trying to make a grand statement about the world, at least not any more than movies like this do... But it is trying to scare you, and it does.

An epic film about Algeria's fight for liberation from France, with three outstanding performances and a grand, sweeping feel.

As the filmmakers trace the troubles of his later life -- psychological, financial, marital -- they flesh out a portrait of a reluctant guru whose human imperfections make him all the more inspiring.

With shifting loyalties, unlikely heroes, truths revealed and a little help from friends, Harry Potter and the Deathly Hallows: Part 2 winds the series up in a most-satisfying fashion.

All of this is interesting, in varying degrees. But watching and listening to Fox talk is magnetic.

It is a quiet but intense and closely observed piece of work.

There are many remarkable things about Gloria, Sebastián Lelio’s film about a woman in her late 50s seeking love or something like it. Foremost is the performance by Paulina García in the title role.

Puzzle just kind of chugs along at its own pace, one of those small movies that packs a bigger punch, one in which, sorry, all the pieces fit.

Don’t think about the details too much. Just enjoy the exquisite agony of watching people squirm, and you’ll like “Drop” just fine.

Polanski builds suspense slowly, exquisitely. It's not a matter of shocking the audience, although there are surprises, but of creating an ever-growing sense of dread.

McQueen is an intriguing look at genius, its inspiration and ultimately its cost.

Haynes plays up the melodrama, and the film moves along without a lot of surprises. But that gives it a certain momentum — a momentum personified by Bilott in the storage room, sorting through boxes. It’s not flashy, but it’s how you get the job done.

Indeed, the best parts of Birds of Prey are the action sequences of the all-women team fighting together, but many of these scenes don't take place until the movie's second half.

From this film, viewers will see a never-ending domino effect on agriculture's effect on the environment, quality in produce and overall health of the animals and the humans that consume them.

A compelling film, and an excruciatingly entertaining one.

It's Bardem's portrayal of his search for those answers that drives Biutiful forward.

Whatever it is, Giamatti finds it and sells it. And despite a few dead ends with the story, I'm buying.

He's always on - this is a documentary, after all, so even when O'Brien is offstage, he's still performing in some capacity, cracking wise at the camera, of whose presence he is acutely aware.

Skarsgård makes the character a little sad, a lot delusional but never a joke. And he makes “Dead Man’s Wire” an underrated gem not to sleep on.

Everybody Wants Some!! is a terrifically entertaining movie that proves Linklater once again a master of perfectly capturing moments in time without judgment or apology.

I noticed about halfway through it that between laughs I’d been smiling the whole time. “Mean Girls” may not be totally fetch, but it’s still a good time at the movies.

While it might not be the most original story, it is well done and Nelson's portrayal of farmer-turned-reluctant-gunslinger is worth the price of a ticket.

Powell and Arjona have electric chemistry. It’s a joy to watch their back-and-forth — not quite the banter of classic screwball comedies, but close.

Give in to the fantasy and it's a fun and fascinating ride that offsets moments of real pathos (from heartbreaking portraits of childhood rejection to him literally hitting bottom in his swimming pool) with scenes that definitely capture the exhilaration of becoming Elton John

Dark Money exposes the dangers of unbridled, anonymous political spending so expertly that it will make you fume with anger, practically quake with distress. Which is exactly why you need to see it.

This truly is what a summer movie looks like — and yes, feels like.

Despite its flaws, Judy can leave you feeling like an emotional wreck by the end.

Da 5 Bloods may not be the masterpiece you’d wish for, but it is a welcome contribution to Lee’s work, and to the conversations we all need to be having.

Wieckiewicz is outstanding, his open face expressing a full range of emotions, often within the same scene, sometimes within the same conversation.

It's an interesting movie, odd and disturbing by design. But it's also effective.

Offers valuable historical, social and political context, particularly if you aren't an international-news junkie.

It all works beautifully. And the animation is brilliant. It’s all in service to the story of a girl who must decide whether to resist change or embrace it. Will she hide from her true nature or will she grin and — sorry — bear it? Turning Red answers the question in a surprisingly satisfying way.

The animation is first-rate, and the settings and background are appropriately exotic. The fights are a lot more exciting than you would think. And if the story is somewhat predictable (and the final blow somewhat difficult to fathom), one could find lesser heroes to root for than Po, although none more unlikely.

The buddy comedy Papi Chulo could go wrong in all sorts of ways, so it’s kind of a minor miracle how much it actually gets right. Funny, empathetic and tender, it pretty much sneaks up and catches you off-guard with its sly charms.

What's nice is how smart the film is. Schumer gives a nod to plenty of other romantic comedies, not to make fun of them but to honor them. Being funny is hard work and she has put in the hours of toil.

The House That Jack Built is more than just an epic piece of cinematic trolling; it’s von Trier taking a microscope to his creative process in all its obsessive ugliness, creating a sophisticated meta-commentary on his art and daring the audience not to be entertained by his extreme indulgence in all the predilections for which he’s been roundly criticized.

The real power of Beatriz at Dinner is that it isn’t about politics but the human heart. Beatriz and Strutt are not arguing legislation; they’re arguing two visions of the American dream, two visions of the human soul.

While not everything works in Todos Caen — "Everybody Falls" in English — the film is breezy and engaging, with sharp and snappy dialogue. Most importantly, you want to see the two main characters wind up together.

There is something compelling about someone who simply shows up for the job, day after day, carving out the remarkable from the unremarkable.

There's comfort food and there are comfort movies. In Lasse Hallstrom's The Hundred-Foot Journey, you get a full helping of both. And guess what? It's all very comforting.

The film, directed and co-written by Jorge R. Gutierrez, is a visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death.

Bird Box is scary, but it also feels very human.

Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.

It's hard to imagine sitting through the film without Penn in the role of Cheyenne. But there he is, in all his intense, bizarre glory, almost daring us to come along for the ride and rewarding us with a compelling trip when we accept.

It’s impressive how accurately Lister-Jones and Pally make these fights. What’s more impressive is how Lister-Jones, who also wrote and directed Band Aid, makes the make-ups and happy, loving moments just as believable.

The film is anchored by a searing, incredibly intense performance by Michael Shannon, whose remorselessness as a hit man is as relentless as Shannon’s portrayal of him.

Thomas Vinterberg’s film puts us just on the edge of screaming frustration; Mads Mikkelsen’s terrific performance (for which he won the best actor award at Cannes in 2012) only makes the film more powerful.

It’s Allen’s best film in years, an authentic-feeling deconstruction of a life. It isn’t always easy to watch. It isn’t exactly fun (although parts are funny). Blanchett’s performance sometimes overpowers the story. But it’s an essential work in Allen’s later canon.

Rogowski carries the film, and it is quite the performance — one whose appeal is difficult to work out in your head, which makes it all the better.

The latest Marvel movie, Shang-Chi and the Legend of the Ten Rings, is a rollicking, adventurous … wait, this is a Marvel movie? It is indeed, and all the better for not being necessarily immediately recognizable as such.

Patel does a masterful job of portraying the inner turmoil that comes with a musician having found the fame he thought he always wanted while knowing he's living a lie. And he's great in the musical numbers, which do their best to sound like someone capturing the spirit of those Beatles songs from memory.

This is a really fun movie. Good, too. Not great, but old-school in its approach to scares and, even better, in its approach to the relationships between kids, outsiders who band together to try to take down a monstrous evil. And maybe flirt a little while they’re at it.

Director Michael Dowse (from the underrated Topher Grace comedy "Take Me Home Tonight") fuels the story with atmosphere, with lots of nighttime activity and bustle. He keeps things grounded in reality, though little touches (Chantry imagines her drawings coming to life) add an extra — and, perhaps, excessive — sweetness.

A quiet character study filled with damaged, insular people who live life in small increments, only occasionally exploding in emotion.