Rises above the usual underdog sports cliches to become something quite affecting and distinctive.

In many ways, A Field in England is a funhouse mirror of audience expectations and something of a filmic Rorschach test.

There’s an undeniable thrill to watching something so experimental and yet totally accessible to those of us who speak only layman’s Dylanese, and it’s Haynes’ warmest film yet.

When combined with Sinise's solid work in front of the camera (as George) and behind it, this Of Mice and Men makes for an unassuming but well-made movie which, unlike so many adaptations of literary works, does not go awry.

Despite perpetual rumors of its demise as a genre, the Western is alive and well in the Australian outback.

It's the tortoise and the hare, Nepalese-style, and it's surprisingly dramatic.

The film's closing may be less than conclusive, yet The Son's Room must be admired, at least, for its unsentimentality.

For those unfamiliar with the notoriously camera-averse philosopher and his thoughts, Derrida will most probably prove to be an unenlightening bore.

It's the best-looking film of the year, hands down, and Thornton is dazzling, a dull diamond in the gutter rough.

All herky-jerky camera movements and no pussyfooting around with the interior lives of these characters.

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

If nothing else, the performances of Connery and Hepburn are welcome delights.

Bouncy with enthusiasm and freely tapping their generous reserves of movie-star charisma, Gosling and Blunt perfectly embody the rhetorical question at the heart of this genuinely tender ode to the industry and its undersung practitioners: Aren’t movies the best?

The screenplay by Keenan Coogler and Zach Baylin springboards off these ideas to make a no-frills sports melodrama that excels because of everyone’s commitment to making a great one.

If the film’s conclusion reads a touch too much like a sales pitch, I didn’t mind; the Chesters’ thoughtful approach to living in harmony with nature is one we should all buy into.

Director Ben Young’s first narrative feature is loosely based on actual events, which makes watching this psychological horror show all the more harrowing.

Forget divining who’s predator and who’s prey. Everybody’s chum here.

There are some frustrating gaps, but only because Wolf has so much to cram in. The second round of biospherians are completely erased, while the sudden appearance of Steve Bannon (yes, that Steve Bannon) poses more questions than it answers. Yet even those dead-ends cannot overcome the fascinating story of compromised idealism and hardheaded optimism that underlies it all.

The film shines when we get to see Barkan as a fully formed figure.

There's a touch of Hitchcockian flavor to the Arbitrage's cat-and-mouse thrills, yet the film clearly announces that there's now a third gifted Jarecki brother (in addition to Eugene and Andrew) to contend with in the moviemaking business.

Cornish, in her first film seen stateside, is astonishing.

It's Disney's best traditionally animated outing in ages.

Modestly scoped, sometimes sweetly dopey, and sincerely moving, Jane Austen Wrecked My Life is a charmer.

The movie doesn't quite add up beyond its performances.

While the story may be a common one (for the action genre, at least), Rodriguez, who wrote, produced, shot and edited the entire film himself, has a uniquely straightforward wit that makes what might otherwise have been just another shoot-'em-up something more than that.

In her sophomore film, director Fastvold, assisted by painterly cinematographer André Chemetoff, has envisioned a softer version of the American frontier, still untamed but capable of hope. It’s a befitting vision of a world to come, one in which forbidden love will one day finally find its name.

It is a rare treat of a film.

Leaves you scratching your head a bit, wondering what just happened, and worrying if maybe it could happen to you too.