By film’s end, my cheeks were wet with feeling so many feelings for these young people just getting going. I am in awe of their boldness.

Surely the most unconventional romantic comedy of the summer, Results isn't anti-plot; it just moves in weird ways.

Never really quite great, it's still a good enough diversion for the family and should please adult fans of racing.

This is the best primer on political gerrymandering imaginable, and should be mandatory viewing in grad school public policy symposiums and high school civics classes alike. Slay the Dragon is simultaneously an education and an urgent wake-up call, and you better pay attention for both.

The most memorable David vs. Goliath courtroom showdown in recent memory.

Zombieland is dead set against being dead serious. Its tonal pallor has more in common with a foreshortened "It's a Mad, Mad, Mad, Mad World" than with "28 Days" or "Weeks Later," and then, again, there's that jaw-dropping cameo. It'll kill ya.

Anchored by a terrific performance by Abbass, Satin Rouge shows that the idea of women's self-actualization knows few continental divides.

Makes it pretty difficult to tell the difference between good mothers and bad.

One thing about this extremely talented artist: He never sees anything in just black-and-white.

Mann's decision to restrict this portrait to such a limited time period may leave audiences a little dissatisfied that important events are only recounted, not depicted. But then, if you're on the most thrilling corner of a track, you may not see the finish line.

Without a doubt, the animation is vibrant and electrifying; it's only the story that lacks.

The Lookout marks Frank's directorial debut after years of working as a screenwriter on movies like "Get Shorty" and "Out of Sight," and though his new movie may lack the sexual tension and bubbly wit that elevated those films to rarefied heights, there's a newfound, and not unwelcome, sobriety to his writing.

While Greengrass' Texas is a place where naivety can get you killed, he still finds a place for trust and healing, expressed through the growing interdependence of Kidd and the kid. Our trauma, News of the World tells us, is not something we can box away. We cannot simply turn the page and pretend it never happened. But we can decide which stories we continue to tell.

The Hangover instantly has the feel of one for the ages.

As overindulgent as it is, The Square is a darkly humorous and horrific mirror to our culture.

The Club isn’t an easy film to sit through (certainly not if the viewer is Catholic) but it’s a dramatically important and deeply contemporary piece of work.

A Girl Cut in Two is Hitchcock sans the whodunit, essentially a long preamble of seduction and spiritual ruin, capped by a crime everyone saw coming (and an eye-dazzling coda that twists the title from metaphor to … something else).

Human beings can be really complicated. And thankfully, there are filmmakers around like Claire Denis who make films such as Both Sides of the Blade to remind us of that complexity. Films that seemingly help us in trying to understand each other, but really show us that we might never be able to.

The subtitle of Richard Linklater: dream is destiny is drawn from a line of dialogue found in his equally groundbreaking and hypnagogic animated art film "Waking Life," and it serves as a mission statement of sorts for his entire oeuvre and endlessly curious philosophy.

While Figgis gets this extraordinary and unrestricted access, there’s a real question about what he does with it. Coppola is infamous for finding his films in the edit, but it’s hard to see that Figgis found that much more than he had in the camera.

While sturdily constructed, Simon Beaufoy’s upbeat screenplay spells almost everything out in capital letters, with little nuance. It seldom trusts you to make your own judgments about the diverse cast of players in this chapter of pop-culture history.

Beautifully photographed by Frederick Elmes, the visuals are often at odds with the barreness at the movie's core.

Left me with the feeling I've seen much of this before. It's not that I'd like something better, it's just that I'd like something new.

The neo-noir Cold in July operates at a steady sizzle. A body turns up dead before the film’s opening credits: It becomes the opening salvo that propels the characters into a confusing vortex of guilt, revenge, corruption, and vice.

Layer Cake is suffused with a stately sense of menace and a sort of doomed existential suave.

When The Company owns up to what it is -– a performance piece -– it’s glorious. Everything else -– the window-dressing of a fiction film -– just gums up that gloriousness.

It's impossible to shake the feeling that these are merely actors -- albeit good ones.

No matter the movie's pitfalls, Ray, we can't stop loving you.