Cumming presents a natural world red in tooth and claw, yet the inevitable lessons learned in this moss-covered and frost-blasted wilderness still have modern resonances – about fear, bigotry, superstition, survival.

After spending time with Moretti during the course of this movie, one discovers that he makes an interesting and entertaining companion.

Honeydripper’s story isn’t anything you haven’t seen a dozen times before, but where Sayles succeeds (where Sayles always succeeds) is in his ability to dramatize the psychological and linguistic details that give identity to a subculture struggling for survival.

Luckily, Ne Zha II still retains the charm of the best parts of the original, with the young rapscallion Nezha still a hyperactive bundle of mischief, hand stuffed down his pants like Dennis the Menace, waddling through jade palaces as he defies his destiny. May he stay as chaotically endearing for the inevitable part III.

It’s an enchanting work, heartbreaking yet wryly amusing.

While the tone of Rafiki is simple and direct, director Kahiu demonstrates a delicate touch when she enhances Kena and Ziki’s early euphoric attraction to one another through a subtle shift in the otherwise vibrant cinematography by Christopher Wessels.

The questionably good news put forth in this documentary is that vanity apparently survives everything.

Depends on the two actors who all but carry it.

Though mildly interesting for their individual merits, there is little sense of their connection to each other as a film and to us as an audience. It's as though this cab ride of a movie keeps moving forward with no clear destination or purpose.

This solid if predictable courtroom drama is elevated by a terrific cast and impassioned subject matter.

The film is so velvety textured and dreamy, I would’ve stuck around for more. That is Cianfrance’s special talent.

Funny, bright, sly, and unabashedly romantic, Notting Hill combines fluffy, fairy-tale fantasy with big laughs, snappy dialogue, and small moments of pain and unease to create a surprisingly satisfying two hours.

(It should also be noted that Page One wears its pro-Times bias on its sleeve, right up to the rankling but now-common inclusion of a "get involved" Web address at film's end.)

It's the kind of movie you wish you had more time to absorb and could see more than once before reviewing.

If The Five Devils more bravely embraced a single perspective, that might have better bound together its depiction of a family splitting apart.

Unvarnished and often silent, she (Hayek) holds the camera’s gaze like a dare. She cuts such a striking figure, you’ll want to follow her anywhere … and where the film ultimately follows is utterly gutting.

Who would have ever thought to pair up Stanley Kubrick and Stephen King? But weird as it sounds, this creepy thriller works.

A vast improvement over the previous two outings, but still and all, it's no "Star Wars."

To a one, they're terrific. But in this overpacked ensemble cast, it's Binoche you want to see more of.

Gunn’s script grasps two major aspects of the Superman mythology. One, that journalism done right will save the day as much as punching bad guys will, and two, that immigrants will often subscribe to the principles that Americans claim are so self-evident more than most Americans will. Corenswet embodies both in a way that no one since Christopher Reeve has, willing to be the gosh-darning nerd if that means doing the right thing.

No one in the movie is entirely right in the head, least of all James, whose rapidly disintegrating sanity provides Pitt with his juiciest role since "Snatch," one he chomps into with all the relish of a guy who’s been playing suave leading men for too long.

In the dark of the theatre Fracture keeps it together – mainly through the sheer will of Hopkins and Gosling.

Gentle and comedically nuanced exercise in mourning.

The Tavern footage is terrific stuff – unstaged and unmediated and the closest the camera gets to penetrating the enigmatic yet magnetic chef.

Inequality for All creates a framework in which all this heavy material is easily digestible, and refashions Reich, the policy wonk, into an inspirational figure who argues that “history is on the side of positive social change.”

Unfortunately offers up the same old recipe, with a soupçon of variation to make those jump-scares not feel like day-old bread.

Hitchcock and Almodóvar this film isn't, but it's a worthwhile and fairly amusing effort.

The film provides invaluable context in its detailing of institutional racism in the Sixties and Seventies and in its emphasis on Ellis as an advocate for equality and as a righteous shit-stirrer.