Throughout, Horan tactfully pulls from archival interviews and footage of the singer to mark her meteoric rise as a teenager in the 1970s; her tumultuous, tabloid-fodder, 1980s career; and her effective blackballing from the industry when she became too rock & roll and irreverent for country sensibilities.

The Immigrant is two hours long, but I stayed even longer in my seat, through the credits, still in thrall to it all. The title is singular, but the scope is not so easily quantifiable.

In its quiet, apolitical observation, 76 Days points to a complete failure – not only of the Trump administration to get a handle on this public health disaster, but of the American press.

This second incarnation of the Mike Judge and Don Hertzfeldt-produced animation anthology is, if anything, even better than the first.

Martin's inner giddiness makes Dead Men Don't Wear Plaid a classic. This loose film is more than a spoof of the hard-boiled noir of the Forties and Fifties; it is a tribute to the wonderful memories these films created in a generation.

Lowery’s version works because, like Brian Helgeland and Curtis Hanson’s rewriting of L.A. Confidential, it captures the nature and meaning of the story rather than getting caught up in individual events or plot beats.

An abundance of color is present in Pain and Glory but the shades are more muted than Almodóvar’s early color-saturated work. Thematically and visually, this film has more in common with such Almodóvar dramas as "All About My Mother" and "Talk to Her." Pain and Glory is ultimately the story of an artist on the verge of a creative breakthrough.

Gets under your skin with its graceful edits and poetic elisions, lovely performances, and faded imagery.

Amid the increasingly horrific images of daily ghetto life are moments of utterly unexpected, haunting beauty, including a reel of color film that does more to humanize an inhuman situation than anything I've ever seen.

Jacquet's penguins are as absorbing and incredible as any man-made phantasmagoria you'll find in the multiplex this summer, and it's all real.

The film can feel a touch overscripted, but Polley and her actors effect true-to-life rhythms of speech.

Effortlessly charming and more than a little generous with its asides, The Delinquents is a film that lays out surprises and delights like a lavish feast – although it’s no surprise for those who’ve been paying attention.

Metaphorically speaking, Strictly Ballroom celebrates individuality over homogeneity; for all its melodramatic flourishes and grotesque exaggerations, it never mocks the hero's dream of self-expression.

Director Benton's style in Nobody's Fool is controlled, almost austere, but it allows the actors to breathe familiar life into their roles. It's a fresh air they breathe, a rejuvenating one that affirms the virtues of a simple story about everyday people.

The movie's ending at the train station and the modern-day epilogue feel protracted and indulgent...Apart from the ending though, this is Spielberg's most articulate movie ever.

Blue is a movie that engages the mind, challenges the senses, implores a resolution, and tells, with aesthetic grace and formal elegance, a good story and a political allegory.

Thrilling, a grand cinematic adventure -- beautifully handled myth-making from Gibson, who, by the way, is just fine in the lead.

Fiercely original in every respect.

Don't let the near-impossible-to-remember title keep you away from this singular and slightly surreal Tommy Lee Jones scorcher.

There’s humor here – Mike Leigh has always found something darkly funny in our shambling human condition – but Hard Truths is not an easy watch.

With such a frenetic, brain-melting load of images to ponder, it's easy to forget that there are also some terrific actors at work here, not the least of whom is the amazing Vinnie Jones.

Funny and sweet and guaranteed to flood you with good feeling.

Blisteringly entertaining.

As we begin to follow the trail of journalist Areez Rahimi (Ebrahimi, who received the Best Actress award at Cannes for this role), the film becomes a very effective thriller. Through her, we also experience the country’s entrenched misogyny.

The Queen is palace intrigue at its finest.

Ferociously subversive and trippily beautiful debut feature from director and screenwriter Coralie Fargeat.

Most importantly, Marder gives the audience one of the most illuminating glimpses into deaf culture to date. Working with actors who are deaf is only part of it: The rest is in details and understanding.

The film is a sure winner for arthouse audiences enamored of the new Argentine cinema, but it has crossover appeal for venturesome viewers in search of a good mystery, as well.