Fillion’s performance as the constable Dogberry in this section is the film’s comic highlight. Wounded by an insult, his ass-backward indignation achieves a droll momentum that will have you chuckling. All’s well that ends well, indeed.

Above all, it's a satisfying, almost restful work, as welcome in this less-than-thrilling cinematic summer as a cool soak on a hot summer's day.

It’s Fukumoto’s wonderfully weathered countenance that makes Ochiai’s film such an elegiac delight. On it, you can see the entire history of samurai cinema, or at least that essential part of it that died often, and beautifully so.

At its best, Captive State blends imaginative science fiction with the caliber of detail-oriented espionage you might find in an Alan J. Pakula film.

The cast is uniformly excellent in their roles, and Eyre's persistent use of long, trailing shots reinforces the story's elegiac tone.

Ponyo is another conceptually and thrilingly original masterstroke from an animator who long ago left Walt Disney in the dust.

With her audience's full attention assured, first-time director Kasi Lemmons then proceeds to unravel a spellbinding, powerfully seductive tale that blends Southern Gothic magical realism and disturbing family drama with the flair of a born storytelling genius.

The United States of Insanity is as much a portrait of a long-ignored, mocked, and lambasted band, and the subculture that surrounds it, as it is a trip into a deeply disturbing and Kafkaesque assault on civil liberties.

The Vessel speaks eloquently. It’s a testament to the substance of things hoped for, the evidence of things unseen.

Bennett’s true genius is not merely in his words – although few have ever achieved his flair for simplicity and wit. It’s in his compassion.

Ill-suited to casual viewing. But its challenges are worthwhile, and the gifted Gleize is one to watch.

Good, clean fun, with none of the icky aftertaste so common to “family friendly” ware, Drumline proves irresistible in more ways than one.

Fathers and families and the impossibility of ever fully understanding either are at the heart of My Architect, and like Nathaniel Kahn, we come away from the film with a renewed appreciation of both.

That is what this film documents: racism, homophobia, misogyny, and exploitation of the working class. God bless Texas.

An inner-city tragedy that plays its story simply, sorrowfully, and beautifully.

The film is set in post-WWII Scotland, but its tone and its telling are so stark, so Medieval, that it seems anachronistic when one of its characters picks up a telephone or plays a bebop jazz record.

Don't let the big (but not that big) budget fool you: It's Troma, baby, just how you like it.

It's too bad the language prevents this independent film from being rated PG-13 because this is the kind of movie that might be capable of realistically reflecting teens' lives to other teens.

The seated dance between Johnson and Penn is witty, earnest, honest, and overflowing with kindness, making Daddio a remarkable story of two strangers opening up to each other.

Overall, No Hard Feelings is a breezy, welcome return to the sex comedy, even if it’s a bit more tempered than it would have you think. It’s a breath of fresh air that hopefully signals a change for the better, bolder, and filthier in mainstream cinema.

Remarkable, melancholy, and ultimately hopeful documentary.

Haunts the memory long after you've left the theatre.

Solet may not have explicitly made a horror movie, but it’s truly terrifying nonetheless because it stares point-blank at the lunacy that allows a seemingly normal farmer to blame every outsider for his ills. If you've ever wondered where a Cliven Bundy comes from, or an Andrew Joseph Stack III (the maniac that flew his plane into an Austin office building in 2010 because he was mad about his tax bill), this is a trip down every twisted nerve and malevolent neuron.

Ford's Indy, who doesn't quite hang up his fedora at film's end, is still the only cinematic smartass-cum-bullwhipping scholar of antiquities I'd want by my side when push comes to shove comes to Nazis ("I hate these guys"), Russkies, or, for that matter, Al Quaeda. Go get 'em, Indy, and cue the John Williams while you''e at it.

The young Dillon effortlessly portrays the thuggish Richie, and Kramer is believable as the misunderstood kid turned miscreant. Add a pulsating soundtrack featuring the Ramones, Van Halen, and Cheap Trick, and you have a vibrant depiction of confused teen life.

Splitsville succeeds because it never seems fragmented. As a director, Covino dances between the sensual and the silly while constantly exploring the core thesis of the messiness of relationships.

Yet while this vibrant and energetic version of Miike is certainly a blast, it can feel underwhelming when you know this was the same man who made the visceral and disturbed "Visitor Q" and the bone-chilling "Audition."

Associated with the modernist architectural movement centered in Southern California during the mid-20th century, Shulman’s still photographs are essential to any study of the style’s vast popularization and commercialism.