The resolute commitment to finding tiny sparks of hope in a pitch-black cosmos yields its own bitter and oddly warming reward.

With a big, domineering performance from Yash front and center, a love of bonkers action and unrelenting brutal violence, stunning camerawork from Bhuvan Gowda, and a director with flair to spare, crime and action lovers would do well to give it a chance.

Elcar's setup may be minimalist, but Brightwood turns that simple idea into a well-crafted baroque puzzle box.

Taken for what it is, Brick Lane is something entirely its own.

We've heard tell about the rebirth of the Western at least since Clint Eastwood's vicious, "Unforgiven" 16 years ago, but since the genre never truly died in the first place there's no need to flog that horse here.

Teenthrob Efron will be missed in future episodes by both adolescent girls and their moms who are only too happy to accompany their daughters to the theatre, but he's a handsome talent who's graduated to bigger projects.

This new iteration of Ms. Croft, played in a far more realistic fashion by Vikander (of Ex Machina fame), is somewhat more serious in tone, but altogether more fun to watch.

The fun of Wild Things -- and there's a lot of it -- is in its never-ending game of cross and double cross.

The all-around excellent cast swings with aplomb from silly to sweet.

When Day-Lewis and Bean are allowed to be real brothers in arms, Anemone truly blooms.

Miike's graphically violent Japanese actioners are not everyone's cup of sake. But if you can handle the bloodshed, Miike's films will open your eyes to the number of ways it can spurt, splat, and drizzle out of a whole variety of natural human orifices and man-made bullet holes.

The movie struggles to find the right kind of humor for its adult demographic, given that a talking dog flick is a genre usually targeted at kids somewhere in PG territory.

Artfully stitched together sans narration, Soul Power stands alongside "Wattstax" as a critical concert film of the Black Power era.

What fascinates Greenwald (who must have slept on Belch's couch to get this kind of informal access) is his subject's utter lack of self-control. Diagnosed with manic depression and gambling addiction, his successes seem designed to take him to ever greater heights, just so he can fall even further when his depression hits.

Screenwriter Steve Conrad has less success with the female characters: The always dependable Davis is forced into shrewish territory, and David's mother (Judith McConnell) is so barely present that it's a wonder she's written in at all.

Junge’s ridiculously entertaining documentary includes a wealth of archival clips that still, after all these years, make you wince.

Despite its faults, the affection the movie has for its predecessor (most notably in its opening black-and-white sequences) is clear and contagious. There’s also fun work being done by the players rounding out the support group, clueless to the gravity of Renfield’s situation until it’s too late.

Flushed Away has a wicked, smart, and subtle sense of humor.

Sharp-eyed viewers will spot director Corman, Martin Scorsese, Sylvester Stallone, Joe Dante, and Paul Bartel in bit parts while Mary Woronov takes an incredibly long time to maneuver her van through a multi-car pileup. Sure, it's a ripoff. Sure it's brainless. Cannonball is still a definitive drive-in car chase flick that's gonna make you want to tromp the gas pedal and burn rubber on the way home.

Starts off promisingly by empathetically depicting the fear and anger children feel when their parents separate, but ultimately its human emotions are dominated by goblins, trolls, and other CGI-generated creatures running amok on the screen.

Ryan and Duchovny hold their own in this talky two-hander, navigating their characters’ highs and lows with conviction.

A winning update of a classic piece of Eighties' filmmaking, and that in itself is something of a coup.

Mostly it will just make you hungry to revisit Ashman’s work. That’s perhaps not the intended result of this fond tribute/merely serviceable survey of a too-short career – but it’s not necessarily a bad one.

The performances of these two leads are compelling and the Cheonggyecheon area can almost be seen as another character in Kim’s morality tale. And even if forgiveness is not always possible in the human condition, Pieta allows that expiation of one’s sins is within the realm of the possible.

Colette is a good primer for a wonderful author, and a reflection on how your life will never turn out as you think.

All are filmmakers who find lyricism in natural elements, and this ability reaches an apogee with Land Ho! Yet the film runs the risk of being mistaken for a picture postcard.

Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time.

This portrait of 1940 France on the verge of capitulating to the Vichy regime is intriguing. However, what keeps the movie engaging is its nutty tone.