Sheridan’s screenplay, despite some very nice touches and his typically laconic dialogue, is the weakest of his recent trilogy in terms of building tension and mystery. Nevertheless, it succeeds well enough on its own terms.

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

Farcical mayhem. A convoluted plot that's easy to follow but hard to describe.

For my money, this Freudian tale about a beautiful kleptomaniac and liar is one of Hitchcock's best accomplishments, certainly one of his most perverse.

With centrifugal force on his side, Spider-Man dips, weaves, and whooshes past, up, and around the camera -- it's a rush, and it plasters a grin on your face even after you've left the theatre.

Achingly gorgeous in almost all respects, the film soars in its period depiction of turn-of-the-century London (and later in Venice, as well), from costuming to cinematography on down.

A fatalistic fantasy that positively bleeds, bruises, and blows holes in its stoic antihero even as the odds consistently favor his imminent demise.

The Raid: Redemption definitely delivers everything that international action fans want. The question I have is whether the laws of supply and demand are adequate tools for evaluating a movie's worth.

If you feel hostile toward art that not only confuses you but then also suggests that your confusion is precisely the point, you'll probably want to pass on Sonatine. But if disciplined, minimalist storytelling, formal innovation, and contemplation of mystery for its own sake appeals to you, a real feast awaits you in the films of Takeshi Kitano.

A remarkable movie: touching, honest, and unassuming, without a hint of irony or false motive.

Brooks’ early reputation as a film director rests with the success of this raunchy Western spoof. A great cast is eclipsed by the hilarious performances of Korman and Kahn, who plays a Marlene Dietrich-like chanteuse.

Sunset Song is not one of Davies’ most expressive or artistically successful films, but I’m very glad for the opportunity to have made the acquaintance of Chris Guthrie.

As documentary Free Chol Soo Lee shows, it's wisdom that seems to evade what are supposed to be the mechanisms of that justice.

The movie is tightly wound and expertly unraveled, resulting in a thriller that you'll remember – unlike the hitman Ledda.

All three leads bring the goods, but it is Luna, carrying much of the emotional weight of the film, who shines the brightest, showing a depth and countenance well beyond his years.

With these two actors in command, Supernova doesn’t just dare to speak the name of a love between two deeply committed men facing an untenable situation. It shouts it from the rooftops.

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

In its strange and successful mixing of genres, Dust Bunny is arguably everything that Mockingbird Lane, Fuller’s misguided attempt at an edgy take on The Munsters, was not.

Ultimately passable movie entertainment, but like most future in-laws leaves a feeling of something still desired.

The relative restraint of Beyond the Lights is practically a godsend, presenting audiences with a fairy tale grounded in something resembling reality and fractured by external circumstance as much as internal doubts.

Doesn't just raise the bar on sci-fi and action films, it rips that sucker off and sends it spiraling into the sun.

Guilt, shame, and regret are all frequent topics of discussion, as the family comes to terms with this impending event in wildly different ways. But however acutely intimate and emotionally formidable Last Flight Home can be (it is relentlessly both), it is thankfully tempered by the human being at the center of it.

First, to dispel the two talking points attending The Impossible, Juan Antonio Bayona's dramatization of the 2004 Indian Ocean tsunami: No, it's not racist, and no, you don't have to be a parent to feel the film in your bones.

By far the most gorgeous slice of sunlit sadism so far this summer, I’m Not Scared also manages to be oddly sweet: a boy’s life, with treachery.

Although Super Size Me benefits from a number of interviews with nutritionists, lobbyists, lawyers, and the like, the film inevitably (but not unenjoyably) is dominated by Spurlock, who offers his sober-minded statistics and cheeky asides without ever devolving into an off-putting Michael Moore-like moralizing.

Second Skin might just be the most accurate and entertaining glimpse of the economy and psychology of technology since Tron.

Provocative and prodding, but apart from its queen bee Ellen (the marvelous Rampling), the characters are representational types instead of fleshed-out human beings.