What holds Earth back from greatness is that, like the human erosion of the planet's surface, it too ends up being a little wearing.

Generous and warm and howling funny, there is such a light touch to Babes, you might not even clock the depth of its observations – its inspections – of body and heart both.

I found myself falling for it, hard. It's Trevorrow's feature debut and we'd like to see more, please.

Fascinating, troubling, and dutiful, Christine, if nothing else, houses a great performance.

There is enough intrigue to keep it interesting, and if it ever feels too slow, try counting the number of people who get betrayed.

Screenwriters Roberto Orci, Alex Kurtzman, and fanboys’ favorite whipping boy, Damon Lindelof, keep the film moving at a quippy clip; there’s really no fat here until the film feints a climax only to lurch the coaster-car back up the hill again.

Messages about learning to be comfortable in one’s own skin and the hypocrisy of the ruling class are delivered with genial humor and mild pokes.

In his three-acts-and-an-epilogue structure, Guadagnino inserts more story than Burroughs intended, and Queer becomes aimless.

To the filmmakers’ credit, the points of view in The Great Invisible are comprehensive and varied, though it’s clear who they view as the good guys and bad guys here.

Hey, hey, it’s the monkeys that rule this particular spot on the Earth, and watching them monkey around is a G-rated trip and a half. And with Tina Fey’s enthusiastic narration, you might even learn something, too.

True, the odd quill may scratch the surface, but there’s nothing really penetrating.

The performers are strong, the plot is good enough, and the Hong Kong setting allows Master Z: Ip Man Legacy to occasionally prove its political ambition.

The performances of these two leads are compelling and the Cheonggyecheon area can almost be seen as another character in Kim’s morality tale. And even if forgiveness is not always possible in the human condition, Pieta allows that expiation of one’s sins is within the realm of the possible.

Feuerzeig has made a fascinating documentary about a fascinating occurrence. Author implicitly stokes so many of the moral questions the incident inherently raises.

Possessor is queasy-smart near-masterpiece of psychotronic slippage. Like its protagonist’s risky psychogenic recollections, it’ll stick with you whether you’d like it to or not.

The result is a film that looks like no other in recent memory.

He even slips in a moment that will make fans of his transgressive masterpiece "Ichi the Killer" squeal with nauseated delight.

Of course, Mackerras' real target is society's hypocrisy when it comes to sex work. Prostitution is something Alice does, not something that should define her forever. Even an overly-optimistic denouement cannot undercut either that message, or the audience's desire for Alice to have a happy ending.

It’s an erotic thriller set-up matched with the sort of morally dubious character that would have De Palma’s ears perked, but it plays like more of a farce in practice.

In many ways even more hellish and stylish than its predecessor... A horror cult classic.

Mostly it's just terribly funny and sad and beautifully acted and terrifically feel-good for being, you know, a cancer comedy.

Feels like an overlong "SCTV" skit. Many prime gags are recycled throughout the film, and, honestly, there's only so much Eugene Levy schtick one can take (though he does get the best Yiddish lines in the film).

The filmmakers do well to create a rich milieu, even if it is as short-lived and enigmatic as the artist’s own life.

Ultimately, it's the period and character details in Super 8 that provide the grist for its winning formula, rather than its emotional arc and monster jolts.

Spielberg's typically emotive storytelling only comes to the fore in a few of the film's pivotal action scenes, a couple of which are truly spectacular and remind us only all too well of what this film might have been.

In a similar fashion, the film’s music score is both high-strung and ominous – at times ringing like the aftermath of a shotgun blast and at others slow and dark like a body being dragged across a floor.

At the very least, The Aristocrats provides a survey of some of the best comic minds in the business.

A surprisingly warmhearted examination of hypocrisy and social insecurity, unlikely camaraderie and stutter-stepped formation of adult identity.