New and amazing -- it takes you back to the days when French filmmaking and French filmmakers were the darlings and saviors of the cinematic cutting edge. It's a great film, simply told, and a pleasure to watch.

A Thousand and One paints a deeply felt portrait of maternal love and family.

While there’s hardly a plot to speak of, that’s never hobbled Linklater before and is indeed the director’s keenest, cleverest trick: the ability to make something sweet, honest, and true out of the ephemeral marginalia of youth minus the rose-tinted bullshit.

The Polish/Israeli co-production picked up the Best Horror Feature award at Fantastic Fest 2015, and it’s a shame that Wrona is gone, but at least we have this superlative example of his cinematic brilliance.

Even for the most adventurous viewers, it may prove taxing. But to embrace its strange singularity yields a thought-provoking experience, and perhaps even a transformative one.

Sophie Scholl plods along inexorably, one step after another, to its grim, sad end. It's almost unbearable.

It’s a movie from which you can’t look away, no matter how hard you may try.

Unruly girls around the world are liable to find these Bandits stealing their hearts.

At the age of 81, Altman may show signs of mellowing, but he again emerges as a master filmmaker.

Citizenfour is obviously in Snowden’s corner, but as an example of pure cinema vérité, this is the finest – and most disturbing – political documentary since Alex Gibney’s Oscar-winning "Taxi to the Dark Side."

These people and the tale of their migration and reintegration into life’s ebb and flow will remain with the viewer long after Johnny's and Sarah’s green cards expire.

The keen observations of The Class ultimately become a remedial education in themselves.

All Quiet on the Western Front is more grisly, disturbing, and sadistic than any horror movie in 2022.

Despite perpetual rumors of its demise as a genre, the Western is alive and well in the Australian outback.

This Tom Clancy thriller gets the proper screen treatment here with this first-rate cast and direction by one of the genre’s best: Die Hard director John McTiernan.

This is Denzel Washington’s third at bat behind the camera while directing himself and, holy smokes, does he knock it out of the park with a vicious, visceral performance that fairly sets the screen ablaze.

As much a movie about class, race, and sexual orientation as anything you've ever seen.

It's the period details that really make The Black Phone ring. It's not the set dressing, or the costumes, or the hairstyles (although Jeremy Davies does sport a fantastic muttonchops-mullet merger as Gwen and Finney's alcoholic, abusive father). It's that grimy sense of the era, that way that kids felt left to their own devices. This is an Amblin adventure drenched in R-rated fear.

Kazan appears in every scene of The Exploding Girl’s perfectly paced 80 minutes, and you’d miss her if she ducked out for even a moment.

A surprisingly effective adventure, El Cid begins well enough but if you stick with the story 'til the end, in CinemaScope, it becomes breathtaking.

There is a confidence and a self-assuredness on display in Kent’s second feature that was only hinted at in her first. From her unflinching examination of the dual standards for gender and ethnicity to the film’s lush compositions, The Nightingale is a tough watch, but one well worth the ugly brush with sexual violence and trauma.

The beauty of Redford’s rock-steady performances over the last six decades or so is that he never showed off, and yet always commanded your attention.

What Riddler is doing is nakedly political, and there’s a risk that the audience may fall for his persuasive, butcherous way. Yet in the rebuttal to the Riddler’s conundrum, Reeves give this Bruce Wayne something more meaningful than an origin story: He gives him redemption.

2022’s Elvis is a typical Luhrmann film: lush, grandiose, epic, stylish to the millionth degree.

Although the characters and their backstories are carefully thought out, Delpy and Hawke deliver their dialogue as if spontaneous and unmeditated.

Nothing short of majestic.

It is a rare treat of a film.

Weitz (About a Boy) is a sharp observer, and Tomlin and the rest of the cast are so superlative that any anxiety is quickly quelled. You’re happy to follow this movie over the river and through the woods.