These people and the tale of their migration and reintegration into life’s ebb and flow will remain with the viewer long after Johnny's and Sarah’s green cards expire.

Corsage has many things going for it, most of them being the virtuoso performance from Vicky Krieps. She imbues Elisabeth with a restlessness that comes off her in waves, and as her fury percolates, so too does her shrewdness. And so would the dramatic tension, but Kreutzer wields metaphors so bluntly that any emotional poignancy quickly evaporates.

You have to wonder – not too hard, though – what this gore-soaked auteur's bedtime dreams are like.

This is a film you skip seeing at your own risk.

A wacky joyride.

All of the major players turn in powerhouse performances, and Fishburne nails his best role yet as Furious.

As is typical by now, Baker (along with cinematographer Drew Daniels) captures the ethos and texture of America on the fringes in a way not many others do.

This film is an example of a Western that ought to appeal to a healthy-sized contemporary audience, and is also a remake of the 1957 film of the same name, which is a hallmark of the type of psychological Western.

Perhaps every decade gets the Jane Eyre it deserves: Is the emphasis of conscience over passion emblematic of our times?

This debut feature from Australian director Duncan is still a wonderful sociopolitical experiment, dripping with sarcasm and bizarre, oddball humor, which make it all the more potent.

Even when the film doesn’t hang together perfectly, MacDougall maintains its momentum as his character painfully journeys toward a sense of acceptance. It may be only a few days into 2017, but this is a performance that you’ll remember for the rest of the year and beyond.

Meehl's documentary features plenty of interviews with cowboys and ranch hands who've had their lives – and their horses' lives – changed by Brannaman, but it lacks the literary or cinematic magic of either version of "The Horse Whisperer."

The most original comedy from either side of the pond in years.

Their Finest may ultimately be the best words to describe the amalgamated work of all participants in this film.

Syriana is the most challenging and uncompromising movie to come out of Hollywood in a long time.

There’s an element of synesthesia and a touch of religiosity to The Colors Within, but more importantly there’s Yamada’s welling compassion for the inner lives of young people.

The end result is an electrifying, morally complex story of the evil that men (and women) do in the name of the greater good.

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

What keeps Outside In interesting throughout is the nuanced work of its so very watchable leads – especially Duplass, who spent the first half of his career behind the camera writing, directing, and producing film and TV with his brother Mark.

That they were just hormonally blitzkrieged kids at the time, unaware of their role in history, only makes Peralta's superior doc that much more winning.

Despite footage onstage with John Lennon and jamming “Happy Together” alongside Howard Kaylan and Mark Volman, plus naturally him taking on censorship during farcical Congressional hearings in the Eighties, Zappa never adequately spotlights its raison d’être’s wit – hello, Burnt Weeny Sandwich, Sheik Yerbouti, and Does Humor Belong in Music?

All Quiet on the Western Front is more grisly, disturbing, and sadistic than any horror movie in 2022.

Flight's pat closing sequences are at odds with the complexities presented earlier on. They travel the conventional route and threaten to vastly simplify this story into one of an addict's redemption. Perhaps it was inevitable that the drama on the ground could never equal the excitement of the action that occupies the movie's beginning sequences.

Iwish I could say 99 Homes delivers a shockingly good sucker punch to the American electorate and a stand-up-and-cheer piece of socially conscious filmmaking, but it’s not. It lacks the satisfactory denouement of, for instance, Michael Mann’s The Insider (and Garfield is no Russell Crowe), in part because the events it depicts are still happening across the country (albeit to a lesser extent).

It all comes back to Sorkin's core idea, implicitly and expertly expressed: that the tactic of violence and provocation, then making the victims seem like thugs, is still performed in Portland and St. Louis and New York, just as it was in Chicago. It's also a reminder that there was no Chicago 7 until the establishment brought them together.

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

While Hewson’s splashier performance energizes the film, it’s Gordon-Levitt who gives Flora and Son its sweetness and light.

The Lunchbox offers us a naturalistic glimpse of middle-class life in modern Mumbai.