There's a nagging sense throughout Gonzo that, despite his late-life decline into caricature, Thompson was too complex, too self-mythologized, too big, too American to ever fit onscreen – especially in a movie aiming for "objectivity," which was, for Thompson, the worst of all possible words.

It's also a doozy of a comedy, matching the dark wit of Ross MacDonald's Lew Archer novels to the stylized theatrics of Matt Helm-era Dean Martin.

One would think that a film concerning ghosts, time travel, and righting past wrongs would clearly lay out the rules, but Do and screenwriter Christopher Larsen are more interested in pastoral atmosphere than logic and with examining the emotional toll of regret, of mistakes, and how those things can follow you forever.

The first film was both a fun and furry buddy cop romp and a gentle metaphor for acceptance and cohabitation. Zootopia 2 goes further down that path in a fashion that is unabashedly moralizing when it comes to how some groups are excised and othered in a community, and how gentrification can be a tool of oppression.

Just enough laughs to keep you from feeling blatantly shortchanged.

Even if One of Them Days does turn out to be a time capsule of an L.A. that has been incinerated, maybe time is the real test. After all, Friday wasn’t a big hit when it came out, gaining its cult status over time on home video. One of Them Days shares the same kind of comfy, goofy, undemanding rewatchability.

As the camera moves through the tall grass of this new world, there comes the realization that we could be within any one of Terrence Malick's movies, any one of the previous three stunners he has made in his 35-year-long career.

Isn't quite a home run: The visually flat film leans on a pop culture crutch that probably won't age very well, and the finale – while terrifically funny – feels piped in from another, far sillier movie.

While In This Corner of the World is bracingly honest in depicting the hardships and tragedies Japanese civilians endured during World War II, it steadfastly remains Suzu’s story all the way through to its – dare I say it? – hopeful conclusion.

It is certainly competent, lovely to look at, but leaves little lasting impression.

This film no doubt planted the seeds for more good ol' boy action pics (White Lightning, Smokey and the Bandit), but while many of those vehicles relied solely on high-speed hijinks, Mitchum's story and charismatic screen presence make Thunder Road a ride to remember.

It's all so goddamn realistic and reminiscent of real-life love (and how often does that happen onscreen?) that The Puffy Chair would be hell to watch if it weren't so funny.

The most articulate and entertaining commentary on racial differences to have come down the pike in quite a while.

There's so much information and so many finely honed arguments in this ultimately joyous film that it's liable to send audiences scurrying home to their computers to download the bands they've just heard.

The originality of Innocence makes it stand apart from the romantic pack.

Uses a wraparound story to provide a hint of Glass’ deep-seated pathology, but allows no details about how it came into being.

It's the kind of story that shows more than it tells, a story that's forged in the spaces that exist in between characters and spaces.

Certainly one of the most lovingly crafted, end-of-the-world, cinematic feasts ever made, a spectacle of destruction and survival not even C.B DeMille could have envisioned.

The fact that the blatantly thumbtacked-on happy ending plays as unvarnished fairy tale adds a definite bittersweet tang of irony.

Coded Bias is not interested in wallowing in despair for the future, like many tech-infused documentaries like to do. Kantayya wants to inform and inspire change.

Taken as a whole, Thirst meanders too far from the crossroads of life and death; it gets outright dull in spots, although they are few and far between.

On a certain level, Notes on a Scandal can be fun viewing, but, odds are, you'll find you won't respect yourself in the morning.

The Hanna-Barbera animation is better than the studio’s usual bare-bones mediocrity, and the voice cast is superb.

Yet while it's refreshing to see teen lycanthropy handled as something other than a metaphor for sexual awakening, Good Manners dawdles on its way to a surprisingly predictable and unearned resolution.

Michael Lehmann's "Heathers" followed the same sort of story line to much better effect in 1989, and Clueless leaves you itching to race over to the video store in search of just that.

With its fine performances, gorgeous sets, incredible special effects, imaginative story line, beautiful score (by frequent David Lynch collaborator Angelo Badalamenti), and knockout cinematography, The City of Lost Children is very much worth seeing.

Wharton brings an extraordinary diversity of speakers to explain the wildly eclectic archive footage she assembles, with as many foreign policy experts as guitarists.

It plays very much like it advertises itself: a mixtape – Fear of a Black Planet, then and now.