With top-notch performances (especially that of Mortimer) and the gray of the Siberian wilderness providing an apt backdrop for the movie's gray zones of morality, Transsiberian is on a great track.

Writer-director Byler, in his first feature film, also proves to be a noteworthy new voice, even if his cinematic sense outweighs his narrative sense in this initial outing.

Director Michael Lehmann made a stunning debut with this sharp satire of teen cliques.

The film is studded with stirring moments of surprise.

The golden era of slashers was defined by vicarious, often overblown pleasures, while the mood of Candyman is overwhelmingly dour and gloom-cloaked. No surprise, considering the weightiness of the issues at hand. Yet there are pointed discussions between Anthony and others in the art scene about the relative power of overt depictions of brutality and metaphor, something that somehow eludes this Candyman.

It's a wealth of material at odds with a scant running time and shallow focus.

Honor Among Thieves is a big, bright, iridescent gem of a heist movie in a spectacular, vibrant, and fantastical world.

By the end of this tight and timely documentary – once again, we’re a nation in chaos, breeding some ridiculously fine rock & roll while the world burns.

The result is something that feels like an adult’s idea of a sophisticated kids’ movie, its sense of adventure and imagination overruled and undercut by its tone of mature melancholy.

It’s an inevitable problem with the screenlife format, to find a way to keep this deluge of pop-ups and cutaways all interesting without the audience’s POV ever leaving a desktop screen.

I Served the King of England, like its hero, is surrounded by and infused with the potential for meaning but feels like a lark: a bit of nothing whistling past the graveyard of 20th century European history without a thing to do but indulge itself.

The best Scorsese we've seen in a decade.

Ms. Elliott's film is, in part, an effort to reverse his slow slide into obscurity. On this level it's an unqualified success.

In this instance Egoyan's hereafter is a pale imitation of his yesterday.

Doesn't break any new ground in the baseball movie playbook. However, it does bring it all back home with the assurance of seasoned pro.

Thanks to the superior performances by all four leads (including incredibly expressive Karoline Eckertz, who appears as the teenage Regina midway through), Nowhere in Africa is a meditation on everything from race and class and cultural impermanence to the inexhaustible malleability of youth.

The magnificence of the film's pieces does not quite add up to a satisfying whole.

So many things come together so beautifully in this movie based on the life of John Forbes Nash Jr. that you're likely to find yourself willing to benignly overlook its occasional biographical lapses and narrative sweetening.

A folksy fable defined equally by its whimsy and wistfulness.

For modern-day connoisseurs of the Beatles, this film will yield few revelations, though it offers a delightful stroll down memory lane and understanding of how the four young men functioned as a unit.

The film's conceits may be a bit too contrived and conventional, but nothing about these characters' interactions are forced. Your Sister's Sister is a welcome guest.

While Midsommar never bores or truly overstays its welcome, its languor wobbles into meandering tonal shifts, with unlikely intrusions of absurdist humor.

Brandon Lee's swan song is a kinetic, pounding, adrenalized feast for the senses, if not the psyche. Bursting with startling images, eclectic staging, and gorgeous neo-gothic set design.

There were a lot of ways for this film to go stupid; it succumbs to none of them.

The worlds of the natural and the artificial are compared and contrasted in this non-narrative visual orgy.

The Dark and the Wicked pulls no punches, either in its sense of perpetual unease, its occasional moments of understated yet truly stomach-churning gore, or in its emotional heft.

You can tell that everyone's whole heart is in this project, you just wish that a little more of the heart was conveyed on the screen.

At just under two hours, Die My Love is a lot of movie with not a lot of story. Good thing, then, that it centers Lawrence in very nearly every frame.