A bizarre and imaginative thriller with a sexual and sociological twist.

The most originally funny movie to hit U.S. screens in a while.

Though formally astringent, Police, Adjective is dotted with lots of humor.

A romantic screwball comedy, one is as intoxicated by words, dialogue and characters as by love.

Despite these quibbles, Django Unchained offers an embarrassment of riches (and actors in tiny cameos).

It’s a spooky, moody doozy of a debut, lensed by Director of Photography Lyle Vincent in a radiant monochrome that somehow makes even the darkness sparkle.

Is it fair to say that Jordan Peele is this generation’s John Carpenter? With his sly grasp of the intersection of popcorn thrills and political allegory, it’s a reasonable comparison. After he provided an Oscar-worthy analysis of race relations in "Get Out," now America’s id is probed in Us.

The Wedding Banquet wins fans with its sunny disposition as it turns a contemporary story about a marriage of convenience into a deft bedroom farce and humanist drama.

McKay makes moral outrage wickedly entertaining.

The good news is that Moana is a wonderfully animated – in every sense of the word – tale of youthful female empowerment that dazzles the eye with an oceanic kaleidoscope of bioluminescent color, catchy songs, and a perfectly suited vocal cast.

Horror movies tend to be pretty quick affairs, clocking in at 90 minutes or less, but The Wailing runs over two-and-a-half hours. That's because Na's recipe absolutely requires simmering before it rips your guts out (and everyone else's).

It closes the film in what I suspect was intended as something of a happy ending, but it’s unnecessary: Thirty happy years should be happy ending enough.

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.

First-time feature director Adam Leon’s shots are precise and full of detail; it almost doesn’t even matter what’s being said (which is good, because the dialogue sounds stilted at times). What’s important is the art, and Leon and his leads have a palpable passion for it, but they also aren’t afraid to stop and smell the carnations along the way.

Though its reach sometimes exceeds its grasp, Tarantino has created a movie with all the gritty punch of a .44 in the belly.

Rumley has assembled a fine cast; there's not a false step in the film, and while obviously this isn't a film for everyone, these are characters that we come to know, respect, and fall hard for, doomed or not.

It's no wonder Imamura has now collected not one but two Palmes d'Ors; The Eel is a flash of quiet brilliance that resonates long after the images have faded from the screen.

What's in a name? Lately, less and less. With Daniel Craig's third go at 007, I'm not sure there's much left that distinguishes Bond from Bourne from Batman. They're all slurping from the same soup – think: death-haunted, self-righteous, tight-lipped and -quipped, parkour enthusiast.

Music has rarely appeared more essential to the human drama.

In this charming, funny, tear-inducing, and instantly recognizable world, and through the (in)actions of Grace, Elliot tells a gentle, touching, bitter-but-ultimately-sweet fable with a warming message: It’s OK to leave your shell behind.

Without preaching from the pulpit, A Fantastic Woman powerfully communicates the hostility and hatred that persons such as Marina encounter simply due to their otherness. In its way, it resembles those Hollywood-era message movies like "Gentleman’s Agreement" and "Pinky," but without the self-congratulatory importance that weighs those films down with all the subtlety of an iron anchor.

Given its nonlinear structure, Your Name requires your trust, but once you place your faith in screenwriter/director Shinkai’s expert hands, the reward will come. (Not surprisingly, the film is the fourth-highest-grossing film in Japan’s history.)

Lush, succulent, verdant, aromatic. These are the kind of words that come to mind when describing this new Vietnamese film, a film dominated by textures rather than plot.

Dunst's performance is a thing of calm beauty and mired grit, fully deserving of the Best Actress Award she received for this work at Cannes. The entire supporting cast also proves to be a delight, even in their obstinacy and oddities.

Meticulous and abstruse, Shane Carruth’s Upstream Color is an idiosyncratic film that invites explication but defies total understanding.

What elevates this conventional tale is how Waititi tells it. With sharp, nimble humor, and one-liners that come a mile a minute, Wilderpeople is a sweet story told with biting wit and an editing style that keeps things going at a rapid pace.

Nothing short of majestic.

Funny, scabrous, disturbing, tragic, and improbably life-affirming, The General travels its own idiosyncratic path with more real style and substance than the past half-decade of Hollywood gangster movies combined.