Director Margaret Betts’ superb debut feature arrives in theatres at perhaps just the right moment.

Some Kind of Heaven effortlessly blends humor and pathos into a memorable and at times unsettling study on where life’s trajectory might land us, and that is a concept that deserves more than mild contemplation.

A new film that takes an unflinching look at a nation’s anti-Semitism that led to the death of hundreds of thousands of Hungarian Jews.

On the Rocks is light-hearted and, ultimately, more a story about a girl and her father. The good and the bad of that parental legacy and the task of disentangling from it forms the subtext of On the Rocks.

A mortal movie about an immortal subject and the very fact that it succeeds as well as it does is a testament to Lee's skills as a filmmaker.

Ultimately, Facing Nolan paints its picture of a baseball great with broad strokes, but they cohere into a warmhearted image that baseball fans and their uninitiated families can enjoy together.

Watching Bloodlines is like watching a nature documentary where a woodland creature is ripped to shreds in graphic detail. If you’re someone who roots for the prey over the predators, this might not be the movie for you. Otherwise? Cut loose, friend.

The character never really comes alive, and I walked away from Into the Wild feeling that Penn was too in love with the idea of Christopher McCandless the free-spirited hero to excavate the soul of Christopher McCandless the lost man.

In her remarkable, warm, and sometimes delicately sad debut feature, writer/director Channing Godfrey Peoples sees both sides of this intergenerational struggle. What's truly special is that she avoids any histrionics. Ever since James Dean screamed "You're tearing me apart," filmmakers have craved that emotional explosion, but Peoples paints life in this Black working class Fort Worth neighborhood in softer tones.

The peerless crew of actors playing the party guests present stinging dialogue and reactions with the precision of expert marksmen.

As a whole, the film has too little character and/or plot development to sustain narrative interest. What A Scanner Darkly excels at is mood and tone.

By far the freakiest and most unnerving shocker in theatres this season.

A laugh-aloud film that exemplifies the snap-crackle-pop of exquisite comic timing.

The deep emotional success of The Iron Claw all relies on a remarkable cast – most especially the four brothers, at ease with each other but fatally at odds with themselves.

You may have the biggest flat-screen DLP monitor in the city, but Red Cliff will never look half as spectacular as it will on the big – and I mean really big – screen.

The work of a fine craftsman and artist.

So full of good stuff that it's impossible not to fall in love with it.

By turns beautiful and ugly, occasionally infuriating in its obfuscation and disconnect, always slow and intriguing, King Crab is powered by the wild-eyed and soft-spoken charisma of Silli as the instinctually rebellious and disdainful Luciano.

The filmmaker has created a haunting movie, one that connects on a visceral level that defies easy explication. The unembellished performances by Cotillard and Schoenaerts exude a raw authenticity that anchor the film's grander melodrama and embed the characters in the viewer's memory.

The simplest thing to say about Who We Are is that it should be part of the standard curriculum in every school in America.

Eye in the Sky maintains nerve-racking suspense throughout its running time and explicates some of the unknown nuances of drone warfare. Plus, you know, Alan Rickman is reason enough to see it.

Down in the Delta, like a gratingly platitudinous self-help tape, sugarcoats the complex one-step-back, two-steps-forward nature of personal and social progress. And like the drugs and booze it condemns, it provides a warm rush of euphoria, but no real answers.

The film sucks you in with its exquisite cinematography (shot in lush black-and-white, with a handful of carefully curated moments in color), and a heavy influence of Thirties and Forties Classic Hollywood filming techniques.

Val, while often tragic, is also a deeply spiritual film: a benediction of forgiveness for those that wronged him, and a mea culpa to those he has harmed (most especially, it seems, ex-wife Joanne Walley).

The Fight is an endlessly engaging look into the often labyrinthine legal apparatus, and the film seamlessly moves between the cases with such incredible skill that the team of editors deserve all the accolades afforded to them.

The fact that Wordplay works as a film at all is a testament to its skill. The New York Times may never find a better marketing tool.

It proves that value of the journalist as record keeper of horrors.

This Japanese film by that country’s preeminent surveyor of contemporary familial relationships explores humanity’s ambivalence regarding the matter.