Odom Jr. won the Tony for his performance here, a fact that’s been somewhat dwarfed over the years by Miranda’s tsunamic success, but the neat trick of this filmed version is to time-machine viewers back to an extraordinary moment in American cultural history – to put us, to borrow from Miranda, in the room where it happened. It feels like such a gift.

Austin mainstays the Zellner brothers have managed to make a Western genre film appropriate for the #MeToo era’s audience.

Honestly, this ultra-noir adaptation of Frank Miller's black-and-white cult comic series is a visual feast ripped straight from the original medium's blood-soaked pages.

Sellbinding, distressing, and possessed of a dark and terrible beauty.

The film is a startlingly original and haunting take on our ageless fear of otherness.

Even when it feels packaged like a holiday entertainment that aims to please, watching Dreamgirls is like being on cloud nine.

Hoffman and Bancroft are phenomenally cast in a script co-written by Buck Henry and Calder Willingham that is by turns sly, touching, and amazingly fresh 30 years later. [Review of re-release]

Cyberpunk meets renegade romance, à la Orwell.

Karam manages an incredible feat of genre-bending, as neither the comedy nor horror impairs the other. Each is built so naturally within the drama: The laughs are the result of simply having well-realized characters and the scares an existential manifestation of their contentions.

An action-packed and hilarious story of two sisters whose bond is tested, Polite Society is worth seeking out. Come for the action and loving send-up of martial arts films, and stay for the sisterly support that shines through.

Crowe has created a genuine love song for all those who've ever felt their lives to have been saved by rock & roll.

An immersion into the characters' world in toto, from the "Oh geezes" and the "Oh, yaahs" to the dark and flinty core beneath.

Pixar's animation is simply flawless; colorful, deeply realized, and ably conveying both the chaos of the kitchen, and the sensual allure of food well prepared.

While Pulse was a warning, Cloud seems more like a funeral bell, a despairing look at life on the online economic periphery.

Though casting this mediocre screen hunk as an uptight businessman's alter ego was a stroke of pop genius for director Frankenheimer, it was Hudson's idea to have two actors play the lead, and his surprisingly thoughtful performance galvanizes this harrowing, cerebral thriller (and suggest Hudson's talents were under-utilized).

This is an undeniable star-making performance for Madison, who finds the grace and charm and stupidity and selfishness and wild-eyed wonder of Mikey, a tough survivor who falls for the oldest fairy tale in the book.

Everyone who has been in a long-term relationship has gone through that moment when they wonder where they end and their partner begins. Adult connection horror Together takes that inner fear and makes it physical.

A handsomely constructed and executed movie, the kind of effort that deserves appreciation, on its own terms, for what it both dares and accomplishes.

Even as Aatami survives completely ridiculous and clearly life-ending assaults, the magic of bloody-mindedness keeps the action … if not plausible, then never less than hilarious and gruesome.

Remarkably fresh and exciting.

Pattinson is fully committed to the performance – performances – and his impact subtly evolves from giggling to genuinely moving. That same evolution applies to the whole of Bong’s film, which dances so close to the edge of grand folly, the effect is exhilarating.

Terribly Happy isn't, but it is wonderfully unhinged, and a painstakingly constructed meditation on a place where good and evil meet, mate, and make sour times sublime and, dare I say it, beautiful.

All the film’s accoutrements are note-perfect from the costuming to the music, performances, and set design. Messy family life and moral ideals perfuse the film’s landscape but the film shows how these things can become the foundational elements of an individual’s life.

Joel Coen’s The Tragedy of Macbeth is an outstanding gem of form and content, and I take solace that future generations of English students now have a new text to learn from.

By film’s end, my cheeks were wet with feeling so many feelings for these young people just getting going. I am in awe of their boldness.

Keeping with the spirit of its lead characters, Oscar and Lucinda is a movie best met with a gambler's faith: You may not be certain what it means in the end, but its magnificent payoff is nevertheless a sure thing.

We witness no darker horrors than the roar of a car wash, yet Haneke's static, panoptic camerawork – shot alarmingly close or disquietingly afar – conveys considerable menace.

Director Alfonso Cuaron, in his first American movie, has fashioned a world so real and so engaging that you can feel it and smell it and taste it as surely as if you were there.