To paraphrase Nathan McCall, this film makes you wanna holler.

It's chilling what Fiennes can do with so very little; he looks like a wounded puppy half the time and sounds like one to boot.

The Fall lives and dies on the strength of Pace and Untaru's remarkable performances. It's there that the pulsing heart of this magical-real film beats most true.

Lemarquis, as Noi, has a stoic and silent tenderness to him, and Hansdottir's Iris is the picture of pensive sluggishness. But then all that cold, cold snow slows you down, both inside and out, until the only thing moving is your heart.

Even if Medieval occasionally succumbs to its worst biopic influences, it’s still a delightfully confident work from a filmmaking team that knows its way around a sword.

What Hail Satan? really achieves is to show this new brand of Satanism as part of the same tradition as the Dadaists and the Church of the SubGenius, fighting for actual liberty and debunking falsehoods. As one activist so adroitly explains, the devil’s work is never done.

A formulaic family melodrama whose craftsmanship and sensitivity to its characters raises it to the level of sublime group portrait.

It's a finely calibrated, spiraling lesson in what NOT to do when engaging in adultery, blackmail, arson, and general antisocial behaviors, and in its best moments it recalls the everyday darkness of James M. Cain: average people doing awful things in an amoral and uncaring universe.

The story's parallels with the present are sometimes inescapable, as when Saladin's fireballs catapulted at Balian's castle strike an eerie resemblance to the "shock and awe" of the U.S.-led coalition's initial assault on Iraq.

Sharper ticks so assuredly in execution the hitches won’t distract you – and that may be the biggest con of all.

Löwensohn's Luce is an amoral fury, as much death goddess as aging libertine, a figure who drives the imagery as much as she is captured by it. In a world where boredom is the only sin, every act of violence or lust is all at her pleasure.

Outlaw King gets far more right than it ever gets wrong. Fourteenth century Scotland wasn't kilts and Pictish face-paint: It was a Late Middle Ages nation, with elaborate regal clothing at court, elaborate cravings and furniture, a distinct culture – and mud and blood and violence.

You never really see any of it coming, which is what makes the film such a marvel – and so difficult to discuss.

Ultimately Hill of Freedom is surprisingly satisfying in its sheer — albeit abjectly disjointed – fish-out-of-water ordinariness.

Despite the shaky-cam aesthetic, Dave Green’s first feature still makes for a brisk, appealing adventure capably anchored by four young actors.

The film is a deeply compelling portrait of how intense loss shapes our behavior, our perspective, and most importantly, ourselves.

It’s in this space that masculinity is interrogated, imagination is nourished, and these men get to be defined not by their past trauma but by their resilience and renewed capacity for joy. This is the space in which the empathic Sing Sing soars.

With new animated feature Teenage Mutant Ninja Turtles: Mutant Mayhem, Nickelodeon proves that this franchise has not lost any flexibility with age.

Perhaps one of the cutest children's films ever made.

Infinitely subdued, sexy, and melancholy, Nadja is one of the most stylish and quietly exhilarating genre movies to arrive in a long time. Recommended, and not just if you wear black all the time.

Microcosmos is more about reverie than revelation. Still, don't be surprised if you come away from it with that feeling, like the aftermath of a deep, strange dream, that your consciousness has been enlarged in a subtle but very real way.

Ghostbusters: Afterlife may not change cinema in the way the original did, but it’s a worthy next generation.

What is lost in translation from Wolitzer’s novel is her particular vision of Joe – short, Brooklyn-born, Jewish – and her sidelong portrait of midcentury men of letters like Bellow and Roth. The Welsh-born Pryce makes a halfhearted swipe at mimicking an Outer Boroughs accent; he’s better at capturing Joe’s gluttony and overgrown-child sulks.

Maybe someday there will be a better commercial comedy about a girl taking charge of her sexual education, but for now, this is the only one we’ve got, and it’s a filthy-fun charmer.

It’s a query with no answers, a period piece about the present. It’s idiosyncratic, actively noncommercial, and doesn’t follow the rules – like playing a game of chess on a board with no squares.

Finney's portrayal of Alfie is heartbreaking in its naïveté about his own desires, yet he also brings to the character an unbridled joy in life's basic pleasures.

An informative and nonpolemic look at the birth of the modern environmental movement and its various offshoots and key players.

The film gets heavy-handed about its premise sometimes, exaggerating the online-ness of it all with artificial glitches and voice modulations, but beyond that, Language Lessons is gorgeously, uncomfortably real.