The war might be over, but fear and hope remain locked in a rapturous stranglehold amidst the rubble.

Bizarre, trenchant, and unexpectedly hilarious, this is one regular guy's foray into the lonely world of love. Were that all budding relationships came out this well.

Kaurismäki’s spare style and economical storytelling are well-suited to this particular story about loneliness, as the director never muddies the frame with sentimental dross or lugubrious inclinations.

Provides a smart and funny respite from most of what passes for romantic comedy these days.

The golden era of slashers was defined by vicarious, often overblown pleasures, while the mood of Candyman is overwhelmingly dour and gloom-cloaked. No surprise, considering the weightiness of the issues at hand. Yet there are pointed discussions between Anthony and others in the art scene about the relative power of overt depictions of brutality and metaphor, something that somehow eludes this Candyman.

The most interesting aspect of Patriot Games, however, is the casting of Ford as Ryan, given that Alec Baldwin originated the character in the preceding film. In contrast to Baldwin's rather colorless CIA analyst ill-suited for work as an agent, Ford informs his character with believable world-weariness which subsequently transforms into rage at the prospect of harm to his family. In many ways, Ford grounds Patriot Games in a degree of emotion that distinguishes it from most run-of-the-mill action thrillers.

Now, four years later, Blumhouse Productions has released an anthology sequel that follows in its footsteps. The kicker? It’s even better than the first.

Wain's psychosis is shown from the inside, the Victoriana giving way to psychotronic visions that re-create Wain's futurism and dalliances with Cubism.

At its best, Thank You for Your Service is "The Best Years of Our Lives" for the modern generation of war veterans.

Eye of the Dolphin is much better than most films of this sort, and if it helps a generation of young girls want to grow up to swim with live dolphins rather than groom My Little Ponys, that's certainly not a bad thing at all.

With remarkable access, Klayman is prepared to let Bannon hang himself with his own words.

Winning and emotionally punchy film.

If you are in the market for a movie called Cocaine Bear, all you want to know is that the premise does not jump the shark in the very first act. If nothing else, it seems that Elizabeth Banks has used Cocaine Bear as an excuse to work with several of her favorite television actors of the 2010s – and then kill them off in the most glorious way possible.

The destination may seem inevitable, but the twists, turns, and merciless bloodshed make Kill a trip well worth taking.

Cameron’s journey is a complicated and poignant one, though the muted aura that maintains a rigid hush over scenes keeps the viewer at something of an emotional detachment.

Bogdanovich narrates the most extraordinary moments of close-up slapstick and derring-do with equal fascination. But mostly what he does is let them play out with the occasional factoid, so the audience can appreciate just how impeccable Keaton's work was.

In a way, it's an archetypal car-chase flick, with next to no plot and a lot of cars flying through the air, engines roaring, tires roasting, sheetmetal bending.

Phillips sets the stage for a courtroom procedural – and then rolls a hand grenade into the middle of that weighty stage with a series of song and dance numbers.

Doesn't tell you anything about human nature you probably haven't already suspected, but then again it's good to be reminded of these dark things from time to time. Especially these days.

A compelling small-scale drama, and Lapica is a talent to watch.

Taking a cue from the horse in question, Ross’ film takes its time getting into the race, but once it gets going, the going gets good.

The humor is both broad and lowbrow, yet often extremely funny.

Hall, one of our least appreciated great actors, is mesmerizing as Sydney.

Easily the smartest, snarkiest, and most honest depiction of that tweenage wasteland known as the "middle school years" that this former wimpy freak and geek has come across since having survived the daily derision afforded those of us who chose to spend our lunch periods perusing J.R.R. Tolkien, playing Dungeons & Dragons, or just hiding out in the boys' room.

While not always successful or even unusual, Night and the City is a tart Manhattan cocktail worth savoring until the cup runs dry.

If you ever thought "Footloose" might’ve been improved with an Irish brogue and a short pour of agitprop, then by all means look to this latest from Ken Loach, Britain’s elder statesman of cinema and its evergreen champion of the working class.

Much like a lot of fare coming out recently, The Lost City is a film you can escape your troubles with for a couple of hours.

Flight's pat closing sequences are at odds with the complexities presented earlier on. They travel the conventional route and threaten to vastly simplify this story into one of an addict's redemption. Perhaps it was inevitable that the drama on the ground could never equal the excitement of the action that occupies the movie's beginning sequences.