Director Porter has done an excellent job assembling archival footage and interviews to tell Lewis’ story; she has the markings of a great storyteller.

One of the most original movies of the year.

The kind of movie that gets under your skin and takes root.

Disturbing, harrowing, visceral, and even sporadically humorous, Kids is one of those rare films that begs the description “a must-see.” For once, it's the truth.

Director Ceyda Torun was born in Istanbul and lived there as a young girl, leaving the city with her family at age 11 to live in Jordan and later New York City, but it’s abundantly clear her heart has never left her birthplace. Kedi is a valentine to her childhood home.

Scripted by Samy Burch, based on a story by Burch and Alex Mechanik, and citing head-spinning references from Ingmar Bergman’s Persona to Mike Nichols’ The Graduate to Hard Copy, May December moves a little like a dream, disorienting as the shimmering heat captured by cinematographer Christopher Blauvelt.

The Marvel films have been accused of being repetitive in their structure; Infinity War bursts any conventions wide apart. This is a vast, truly epic endeavor, one that both brings the current MCU to a near-climax (wait for the so-far-untitled follow-up, due May 2019, for the ultimate resolution), and sets the future in motion.

The film opens with a camera slowly swirling around a skull. Red droplets splash on the cranium. In Michael Nyman’s score, a brass section booms rhythmically like blood in your ears. The effect is brooding and provocative. It’s pure drama. It’s perfectly Alexander McQueen.

So often in these big multi-villain events, the hero gets swallowed up, but here he defines the film. If this really is Holland’s last outing, then he leaves having kept true to the spirit of his Spidey.

I don’t say this lightly, but I think jackass forever is exactly what we need right now.

Manages the most delicate of hat tricks: It gives definition to uncertainty.

Snatch is nothing if not watchable: It has the insane, popcorn rhythms of a Road Runner cartoon, and for that reason alone it's a minor masterpiece.

Apart from a handful of tracking shots, the film is a series of middle-distance static shots, giving us the same detachment the Höss household possesses living next to a concentration camp. But The Zone of Interest’s coup de grâce is never showing any activity within Auschwitz itself, allowing only the sounds of the camp to be a constant, nerve-racking presence.

You can take Yourself and Yours at face value, and watch it like Min-jung is a pathological liar, or you can watch it trusting her every time she claims she’s not Min-jung, and see it as a metaphor for how men see women. That there are numerous ways to view her and the story makes it one of Hong’s most powerful and engrossing films.

As Dawn, Matarazzo isn't afraid to evoke the horrors of puberty with a straightforward charmlessness: She's gawky, unhappy, and confused, while her tingling of sexual desire downright gives you the shivers.

Park is one sick puppy, and I mean that in the very best sense of the phrase.

The film is a magnificent document of secular humanism.

These are just boys, and it is all pretend, but Boys State, like the event itself, delivers some legitimate life lessons.

I’m not sure tick, tick…Boom! is for everyone. People who like Rent/Larson and musical fans in general will love it.

Even more extraordinary than the concept or its conceptualization is how intensely moving an experience it all amounts to.

To quote one of the nameless board members: “Libraries are the pillar of our democracy.” That couldn’t be more evident with Wiseman’s effective and engrossing film. When was the last time you renewed your library card?

The spasmodic violence creates a stomach-churning counterbalance to the quiet palace intrigues, especially through the surgically placed classical Chinese score by Loudboy – much of it carried through duets by the commander and his wife on the guqin and guzheng (paired Chinese zithers), which becomes a subtle subplot in its own right.

The driving forces behind Dick's courageous, defiantly candid film are curiosity about all things human and a desire to explain the seemingly inexplicable.

Barbie, the toy, see-saws in the culture between extremes: Is she an aspirational figure, or the fastest way to f*ck up a kid’s relationship to her body? A gateway to the imagination, or a slammed door? Barbie, the movie – an exhilarating, generous, deeply handmade comedy about a mass-market product – revels in these extremes.

If Victorian Manchester had been remotely like this, H.G. Wells never would have bothered to pen "The Time Machine" – he'd have just stepped outside and into the fray.

This oil-family story is way, way east of Eden. Were I asked to choose, Written on the Wind would blow in as my favorite Sirk film.

For those willing to submit to its terrible charms, it may be the single most important debut to come out of the Americas in years.

Ultimately, Once transcends even its own ambitions, becoming a complex meditation on relationships, Irish culture, and music.