Flat out, Air Guitar Nation (winner of the Audience Award at South by Southwest 06) is a damn good time.

Mad Dog and Glory, thankfully, finds the director in remarkable form, crafting an engrossing new film out of what might have been, in less competent hands, simply another Hollywood formula movie.

The magic of this Neverland is knowing we just have to believe and we will always be able to fly.

It's not perfect - infrequently the comedy and drama rub up against each other too much - but it is the genuine article: a wholly unique family film that can moisten your eyes even while it quickens your pulse.

Brittany certainly deserves a happy ending, just perhaps not quite in the time allotted.

Awesome.

The best comic-book movie in a long time, though based on no comic, Lucy is a film that mates classic Besson with Quentin Tarantino in a go at the mystical, world-solving vision found in Stanley Kubrick’s "2001: A Space Odyssey" and Terrence Malick’s "The Tree of Life."

Tamra Davis' directorial debut is a noir-ish, adrenaline-fueled tale of a love on the border between teen angst and homicide, and it packs a mean, unrelenting punch.

Last and Future Men is a haunting film of melancholic beauty, but hidden within are stubbornly persistent elements of hope.

This is character study as portraiture, and – just like visiting a gallery – it places the burden on the audience to sit and wait for small details to be revealed through the act of observation.

The film ostensibly is about bees and honey and how that affects these families' lives and income, but what really hits home is a broader impact of humanity (in all its messy glory), and a document of so many things: grief, loss, happiness, and joy.

Poly Styrene: I Am a Cliché is the daughter cinematically coming to terms with their complicated relationship and with a figure who changed our culture.

For the 10th entry in such an unlikely franchise, it’s hard not to get wrapped up in all of the typical mannerisms that grant this series its identity. Even when the Fast films are stuck spinning their wheels, they still have their foot firmly on the gas.

Lush, succulent, verdant, aromatic. These are the kind of words that come to mind when describing this new Vietnamese film, a film dominated by textures rather than plot.

The Good Dinosaur may not be as revolutionary as 1914’s “Gertie the Dinosaur,” but as Jurassic World already demonstrated this year, we never tire of these prehistoric critters.

Full of revelations, all brought to light by Bell's good-natured, Michael Moore-lite dogging of athletes, health experts, government officials, and even his own parents.

Despite the buildup of these horror expectations, there is no predicting how deliciously enjoyable it is to witness the macabre dance performed by Moretz and Huppert, two of the best actresses working in today’s movies. They play their game of cat and mouse with claws out; by the end of the berserko film, their characters are practically swinging from the rafters. Everyone appears to be having a grand time in Greta, and it would be crass for us as viewers to not respond similarly.

Director Roth has accomplished the near impossible with Hostel: Part II: He's crafted a vastly superior sequel to a film already considered something of a classic by genre aficionados, one that supersedes its predecessor's sadistic entertainment quotient by orders of magnitude while also upstaging its own outrageous gore effects with a script that's smart, vicious, and occasionally, gleefully subversive.

In Passages, Sachs’ enthralling eighth feature, he and his regular co-screenwriter Mauricio Zacharias return to the more experimental bent of Keep the Lights On, echoing that film’s elliptical nature and naturalistic presentation of sex, its dizzyingly destructive relationships and Euro-arthouse affect.

This film will either drive you mad or make you angry, possibly both, if you’re lucky, but it’s rarely boring.

If you're looking for a few hours of mindless, uncomplicated, air-conditioned escapism to get you through a hot late-summer's evening, I'd recommend you look some place other than Traitor.

This love letter dedicated to opera’s biggest rock star, the larger-than-life Luciano Pavarotti, achieves something most documentaries about the deceased rarely do: It brings a man back to glorious life.

As always, Affleck remains one of the directors who can disguise a powerful parable as giddy, crowd-pleasing entertainment.

A life-affirming documentary if ever there was one, A Brave Heart is a litmus test for gauging compassion, one I would recommend everyone take immediately.

The film's politically correct repudiation of the familiar black-and-white characterizations of the white and red man is ultimately undermined, however, when the pendulum swings too far in the other direction.

It's not the crowning achievement in Steven Spielberg's oeuvre, but Minority Report stands on its own sturdy sci-fi legs, and there's no sign of that little imp Haley Joel Osment, to boot, thankfully.

Despite its compelling nature, Greenaway’s film is not always an easy one to sit through.

You won’t want to miss a word of the deliciously bad dialogue in this Hollywood tale of twisted sisters.