The movie buries its treasures in the crevasses of its drollery and craziness.

Kore-eda’s nonjudgmental approach to all his films is what makes him such an enticing auteur, and with Broker he brings what he excels at to a new destination with an all-star South Korean cast that really understands his material and delicate subtleties.

There’s a definite austerity to the storytelling, which is enhanced by the crisp black-and-white cinematography by Łukasz Żal and Ryszard Lenczewski.

Feels brief and dreamlike. Waking from its spell, you touch your face, and it's wet, but you're smiling anyway.

Ideas and their visual illustrations come at the viewer in a cascading torrent. The editing by Alexandra Strauss deserves its own recognition for its painstaking exactness.

Whatever you think you know about The Hunt, you're wrong. And even if you're factually right, you're missing all the context that makes this big, nasty satire the political throat punch/rallying cry we all need.

That Aimée & Jaguar manages so well in triple duty as a wartime melodrama with a lesbian twist is remarkable.

One need not necessarily appreciate Darger's art to enjoy Yu's sympathetic, intimate, and often breathtaking journey into the workings of his mind.

First time writer-director Zoé Wittock takes an absurd idea and imbues it with such heart, soul, and beauty that you'll automatically look past the inherent ridiculousness. Instead, you'll simply absorb its glowing sense of wonder.

No Other Land is inherently hopeful. Even as the bulldozers rumble, and soldiers take the safety off around kids, and goons point cameras in Abraham’s face and threaten Facebook-fueled revenge, there’s hope that the juggernaut of oppression can be stopped.

Spotlight is a great newspaper movie, ranking up there with "All the President’s Men" and "Citizen Kane", and it’s certainly the best of its kind since "The Paper" in 1994, which also happened to star Michael Keaton.

It’s hard to imagine a time when the sea bore a sense of adventure close to outer space.

It speaks to both the head and the heart, and it is, in myriad ways, some of the best work the legendary animator has ever created.

Robbins' direction and script are nearly flawlessly rich. There are no easy answers on death row, and Dead Man Walking makes this painfully, powerfully clear.

Beyond putting the focus back on the artist and his art, what makes Jones’ documentary important is that it actually takes on internet culture in a serious fashion.

At times poignant, joyful, and terrifying, Shawshank Redemption is an altogether brilliant movie and the debut of an equally brilliant director.

Dedicated to Atlantic Records fountainhead Ahmet Ertegun, whose complications from injuries sustained in a tumble backstage at the Beacon resulted in his death, let the record show that a lifetime of musical innovation concluded with dying not at but FROM a Rolling Stones concert.

In The Heights is unashamedly romantic, fearlessly thrilling, endlessly optimistic and given life and voice through sheer love of people, of place – of community.

Is it a comedy? A documentary? An underground gore-fest? Man Bites Dog, the first feature film from Belgian director Rémy Belvaux, is all of these and much more, a ghastly, shocking and explosive debut with all the genuinely ruthless ability to disturb as an oily blue-barreled revolver jammed in your mouth. And it's funny, too.

The end result is an electrifying, morally complex story of the evil that men (and women) do in the name of the greater good.

Maggie’s Plan is an ensemble piece, with Maya Rudolph, Travis Fimmel, and a magic, romantic New York rounding out the cast. They’re all great, but it’s Gerwig who’s just so damn gosh-wow.

In sharing his story with the world, Amin and Rasmussen have given us a truly generous gift.

This is Young Adult horror at its finest.

A crazed, lovestruck, wholly original (and yet amazingly referential) beast, part pop-culture wasteland, part glowing tribute, and part wild-eyed roller coaster (of love).

There’s nothing erotic about this wheezing, rotting, carnivorous corpse, and Eggers rebuts the “sexy vampire” nonsense by depicting a supernatural abusive relationship. If you think that there’s anything sexy about how he rips the throats from babes, that’s on you.

It's a ripping good yarn, to boot, breathlessly paced and seamlessly edited, but most important, resoundingly and surpassingly fun.

The simplest thing to say about Who We Are is that it should be part of the standard curriculum in every school in America.

The effect is devastating, both emotionally and physically. You literally can’t take your eyes off Saul.