Along the way, Koichi and Ryunosuke grow up a little bit; Kore-eda isn't opposed to letting reality intrude on their lives. It's not sad, but more wistful -- the young actors make it so. They are delightful. So, too, is I Wish.

Mission: Impossible - Ghost Protocol is big, it's loud and so relentless in its action that it reminds me of an old joke. Why do you hit yourself in the head with a hammer? Because it feels so good when you stop. In this case, the headache is worth it.

Sometimes the smallest things can get away from us. Farhadi knows this, and reminds us, again and again in this outstanding film.

Witherspoon is an outstanding actress whose material doesn't always fit her talents. "Wild" meanders a bit, in its trips from present to past and back, but Witherspoon remains the constant, doing what sounds simple enough but proves so difficult: soldiering on.

This gently humorous, fiercely honest indie film is a step forward in the quest for a move inclusive Hollywood, which seems to one of the themes of the cultural moment. Some may dismiss it as identity politics. But movies like this prove that it’s about broadening our scope and deepening our understanding.

This is really entertaining stuff. It requires the ability to laugh at misfortune, but Szifrón is so skilled in his writing and direction that this isn't a problem.

It is insane. In a good way. Whoever said "Too much is never enough" made an impression on Miller, who uses the phrase as a starting point and blasts off from there.

An absurd amount of grisly fun, which is a good thing, since, looked at in any great detail, it probably doesn't hold up all that well.

Young is one of only a handful of artists from his generation still making vital contributions, or even trying to. Some of his efforts are hit-and-miss, but he's still in there swinging. He never stops moving, changing, evolving, and it makes him fascinating.

Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.

Young Adult is a horror movie disguised as a dark comedy.

I was only able to figure out the answer to about a third of the mysteries. But the rest left a thrilling impression that made “Missing” a genuinely fun ride.

This is a movie that's just out there, beyond our normal experience in a theater. You may walk away impressed or offended by Killer Joe, but Friedkin and McConaughey make sure you won't walk away indifferent.

Murray doesn't ignore the abuse of power. He just eases into it.

Whatever you like or hate, or like and hate, about Quentin Tarantino's movies, is in full display here. It's long (too long) and bloody, profane and gleeful, with movie-genre references stuffed so tightly into each scene they practically spill out onto the theater floor. Restraint is not his strong suit...Entertainment is, and Django has plenty of that.

Kajillionaire is hyperbolic and surreal, but also, with July’s unique touch, sweet.

It's not easy to make such a downbeat movie compelling, but that's what Ramsay, with great help from her star, has done.

Yes, it’s graphic. But that’s the point. The discrimination and racism that fueled Emmett Till's murder and sparked the civil rights movement are still omnipresent.

Think of Drive as the cinematic equivalent of riding in a car that projects a fashionably stylish image. Sure, the gas mileage may be terrible and the engine unreliable, but it's such a smooth, good-looking ride that you'll put up with the annoyances.

It is an offbeat gem.

Maysles gets to the heart of what is important to Apfel: truth, in a world in which it's in increasingly short supply.

Some of its conceits may not hold up under intense scrutiny, but, generally speaking, it's a good time at the movies.

It's a smart, well-crafted tale that is thoroughly contemporary, yet somewhat old-school in that it doesn't go for cheap shocks. Instead, the emphasis is on mood, atmosphere and some sharply etched characterizations.

Being the Ricardos is a fascinating look at a time in American life when a number of facades were beginning to crumble. The film examines several of those issues, including racism and cultural bias, sexuality, beauty and the role of women in society. It does all of those things while telling a truly engaging story.

Malik Bendjelloul really knows how to spin a yarn.

Miller maintains control over the proceedings at all times, which is impressive enough. But where he really soars is in the performances he gets from his three lead actors.

[Kurzel's] vision of what he wants his Macbeth to be never wavers. And he has the actors to make it happen.

Although this movie has lots of laughs and a willingness to poke fun at itself, it doesn't quite recapture the magic of the last movie. Close, but not quite.