It’s perfectly delightful.

While The Mitchells vs. the Machines has its points to make, it’s also deftly funny, and never didactic. You’ll care about the message because you’ll care about – and probably identify with – the Mitchells.

Cooly feral in dark suit and tie, Glover’s the man in the gray flannel suit gone way, way over the edge, and it’s one of the most fully realized screen performances in ages, rats and all.

In many ways even more hellish and stylish than its predecessor... A horror cult classic.

It is wonderful for what it is: a delightful, thoroughly satisfying comedy of modern manners.

Casting is everything, and the casting of Stallone -- playing way against type -- as the powerless hayseed sheriff in Cop Land is nothing short of inspired.

Three Identical Strangers may not achieve the kind of redemptive catharsis we wish for here, but it achieves something almost as miraculous, making an otherwise unbelievable story seem believably real.

The twists and convolutions can seem overwhelming, but Park sustains this high-wire act effortlessly. It’s about trust, you see, about letting go, and doing so will reveal as sublimely satisfying a romantic mystery as you're likely to see.

This movie presented a radical melange of genuine horror and self-aware comic touches, not to mention the fabulous Rick Baker special effects.

It is violent, certainly, but it's also a genuinely excellent film, horrifying and touching and beautiful in a bloody sort of way. A bit like real life, really.

Everything about this swift and gorgeous and tremendously enjoyable film is played out in a rush of staccato edits, crisp performances, and charmingly giddy subplots that coalesce into Spielberg's most purely entertaining movie in years.

Excepting the occasional shot that forces the eye on a particular dancer, Wenders largely films the action in a way that re-creates the effect of attending a performance in a proscenium theatre – only without having to scrabble for the best seat in the house. No matter where you are, you're already in it.

The subtitle of Richard Linklater: dream is destiny is drawn from a line of dialogue found in his equally groundbreaking and hypnagogic animated art film "Waking Life," and it serves as a mission statement of sorts for his entire oeuvre and endlessly curious philosophy.

One of the most emotionally honest movies about drug addiction ever made.

This remarkable adaptation of the supposedly "unfilmable" novel by David Mitchell achieves near-perfection on virtually all levels.

Disney's latest animated feature hearkens back to its heyday fare, a sweet and captivating tale that pits gentle, enduring goodness against dark, malevolent forces.

A distinctive story with universal appeal.

In a less interesting film, this would all be seen through the eyes of freshly radicalized documentarian Shawn (Scribner, black-ish), but Goldhaber amplifies the tension by keeping this an ensemble.

Definitely not for the squeamish, Wake in Fright is calibrated for maximum psychic impact. Its madness is viral and disconcerting. Truly, you're going to want a stiff drink and a hot shower, or a noose, after visiting the Yabba.

Exciting to watch: The audio disruptions of Carla putting in or taking out her hearing aids and the inventiveness of the way the heist plot is revealed are just a couple of the film's treats.

If Raiff's first film was about two neurotic characters learning to get out of their own heads, then Cha Cha Real Smooth is a tenderly bittersweet story about a couple learning to use theirs.

Looking at the world around us, this is the perfect summer drama for a society that continually proves itself more and more obsessed with controlling women.

One of the most suspenseful films of all time, its wartime action setting makes it easy to forget it's also one of the most spiritually righteous. [Director's Cut]

This Danish film is an alternately funny and harrowing look at a family crisis, a meltdown that blends the needs of the truthsayers with the instincts of the let's-bury-our-heads-in-the-sand-and-pretend-none-of-this-is-happening types.

Lazaro and The Shark: Cuba Under the Surface is a story of community and hope in the face of repression. Director William Sourbin O’Reilly (A Crooked Line) dives deep into impoverished Cuba and captures a rare glimpse into the lives of its artists and activists.

The screenplay by Keenan Coogler and Zach Baylin springboards off these ideas to make a no-frills sports melodrama that excels because of everyone’s commitment to making a great one.

Bad Luck Banging or Loony Porn is a frustratingly brilliant (and brilliantly frustrating) experience that formally doesn’t really have a contemporary cinematic referent, an eyeball-slicing polemic by a bomb-throwing provocateur.

We need gentle comedies like this in the world; we certainly need more movies that remind us of why we fell in love with Owen Wilson in the first place. Like the work of Carl Nargle, history will hopefully be very kind to what McAdams has created.