Gadot is terrific, capturing perfectly the grace, power and heroism of the Amazonian princess who must make herself present in the world to save it.

All elements of the film cohesively create a must-see film about overcoming fear for kids and adults.

The acting is outstanding all the way around. But Stewart is brilliant. She looks, sounds and moves amazingly like the real Diana, but this is no impersonation. Instead it’s Stewart getting to the heart of the truth through her performance, her Diana a prisoner of the fame and adherence to tradition at all costs that trapped her.

Its scale and ambition at times makes it seem like more than it is: a survival story. There’s nothing wrong with that, and it’s a good one. It’s just not a whole lot more.

Gael García Bernal encapsulates the luchador in both the performances in the ring and in the more personal moments, ensuring both sides of Armendáriz’s legacy are remembered.

It’s when Soderbergh tries to say too much that he loses the thread a bit. That’s a shame, because he and the cast are so good at saying a lot with a little.

It’s terrific. This was something of a surprise, as it seems almost impossible to tell this kind of story without a treacly narrative and clichéd notes of inspiration — against-all-odds kind of stuff, which so easily slips into melodrama.

It is the mythic resonance of her story that makes it a worthy subject a documentary. But it is the down-to-earth human touches that make Afternoon of a Faun: Tanaquil Le Clercq worth watching.

It's a well-written rom-com with rascally charm, a modest story of an awkward Brooklyn girl making a go of life. It's irreverent and rough around the edges with an imperfect protagonist, blue language, scatological humor and rambling confessional stand-up monologues, sometimes about bodily fluids. The laughs are frequent and ribald.

It’s fascinating and funny while forcing us to consider the line between technology and art.

King Richard is an inspiring story of a family beating long odds to succeed. When you find out just how long those odds were, it's hard not to cheer for them.

Darren Aronofsky’s film pretty much defines “not for everybody.” He is here to challenge the audience as much as entertain it; happily, he does both, and with no half measures in either department. It is intriguing, frustrating, bizarre and over-the-top — way over. And yet when you leave, you can’t deny: There is a lot of movie going on here.

There is so much love and understanding of all the genres the film is skewering that What We Do in the Shadows transcends its lowbrow inspirations. It's a real treat.

Trachtenberg is patient building this world, and the actors do a good job inhabiting it. Winstead is a terrific actress, and she makes Michelle's desperation and inventiveness believable. Goodman is never better than when playing a nut, and while we aren't sure if that's what he's doing here, the possibility makes for an intriguing portrayal.

What's surprising here, and pleasantly so, is the restraint shown by Mortensen and Fassbender -- and by Cronenberg.

The film is quiet, patient, allowing for lived-in performances that get at the enormous change in the characters' lives.

The story is intriguing enough to make Mud a good movie. Led by Sheridan and McConaughey, the performances make it something more.

A thick film of sleaze coats every frame of Nightcrawler, a movie that takes a hard look at media culture and provides Jake Gyllenhaal a terrific opportunity to creep us all out.

I knew nothing about the real story of the Agojie before I saw "The Woman King." I thought it was a breathtaking, creative and powerful film. And despite knowing the history now, I still do.

It unfolds in ways both comic and affecting.

Catching Fire is a great leap forward for the franchise. Seeing as it’s all about hope and what it represents, here’s hoping the next two are just as good, if not better.

There are moments when this funny, self-consciously quirky film feels a bit like a Welsh "Napoleon Dynamite."

Frot's performance is so towering, so convincing, that it smooths out all the film's rough edges. It's a triumph.

Things get gross and gory — it’s a Ti West film, after all — but more than anything else, West is having fun. Lurid fun, yes, but fun nonetheless. And if you’re a fan of horror and filmmaking, you will, too.

When you watch the movie, you’ll know more about these characters than they know about each other. But Moshe, who also wrote the script, brings the truth to light in dramatically satisfying ways.

Gondry’s illustrations are as fascinating as the chats. Sometimes they look like markers on a napkin. Other times they are reminiscent of something made on the old Lite-Brite toy. They’re always delightful.

Jacobs, while making a fairly funny movie, does not settle for easy answers or melodrama.

Sound City is a music geek's dream, a rollicking look at a dumpy California studio where a lot of musicians found magic. It's also a bit of a mess, like all good rock and roll ought to be.