All well and fine, but it’s a dark thrill to see the return of the fantastically gnarly, nasty, disgusting, humorless and utterly post-human vampire — the O.G. Dracula — in the gothic horror feast that is Robert Eggers’ “Nosferatu.”

Yes, this is a comedy, but it's also sad, and finally it's simply a story about trying to figure out what you love to do and then trying to figure out how to do it.

The strength of Burger’s movie is the fact that a non-reader of Roth’s work can enjoy Divergent and not be confused by any aspect of the storyline.

The film has many virtues, but for me the most enchanting is simply the lust with which it depicts a bold and colorful era in history.

Some of the gags don't work, and yet I laughed at the Farrellys' audacity in trying them. And the humor isn't just gags and punch lines, but one accomplished comic performance after another.

This is an “Apes” for the ages.

Somehow, the great Almodóvar has managed to weave together these tales of recent birth and long-ago deaths in a way that is unnerving and yet authentic, strange yet relatable.

It is a not a viewing experience one shakes off easily, nor should it be.

Why did it take me so long to see what was right there in front of my face -- that The Company is the closest that Robert Altman has come to making an autobiographical film?

Hustlers is slick and sharp and sometimes laugh-out-loud funny, with writer-director Lorene Scafaria delivering a film that often feels like Scorsese Lite — a breezier, infinitely less violent, pole-dancing, glitter-covered riff on “Goodfellas.”

The film is smart, quick, and made with real wit. It's never just a crude action movie, bludgeoning us with violence. It's self-aware, it knows who Dirty Harry is and how we react to him, and it has fun with its intelligence. Also, of course, it bludgeons us with violence.

Glen Campbell: I’ll Be Me is a poignant, stark, lovely and sometimes devastating film — a tribute to one of the great crossover stars of his time, and an unblinking look at how Alzheimer’s relentlessly chips away at one’s memories and thought process, brick by brick. It is worthy of an Academy Award nomination.

The whole movie is so well-cast and performed that we watch it unfolding without any particular awareness of "acting."

Despite its flaws, despite its gaps, despite two key scenes that are dreadfully wrong, Shoot the Moon contains a raw emotional power of the sort we rarely see in domestic dramas.

Colin Farrell is astonishing in the movie.

What made Shackleton's adventure so immediate to later generations was that he took along a photographer, Frank Hurley, who shot motion picture film and stills.

Pretty much required viewing.

Directed with sly grace and quiet elegance by Sally Potter, it is not about a story or a plot, but about a vision of human existence.

The story is as pure and lean as the original fable which formed in Steinbeck's mind. And because they don't try to do anything fancy -- don't try to make it anything other than exactly what it is -- they have a quiet triumph.

This small film (virtually all of it filmed in Tobi’s New York apartment) is a real gem. Stewart is the main draw and he doesn’t disappoint one bit. Gugino delivers a richly layered performance, tricky as the part calls for supreme subtlety. Lillard is a major revelation here.

The most mysterious character in The Kid With a Bike is not the kid, who after all, has a story it's fairly easy to understand. It is the hairdresser, played by Cecille De France with her sad beauty. This actress carries lifetimes in her eyes.

Keane is played by Damian Lewis. Here he inhabits an edge of madness that Lodge Kerrigan understands with a fierce sympathy.

Anderson is like Dave Brubeck, who I'm listening to right now. He knows every note of the original song, but the fun and genius come in the way he noodles around. And in his movie's cast, especially with Owen Wilson, Anderson takes advantage of champion noodlers.

For a movie audience, The Hours doesn't connect in a neat way, but introduces characters who illuminate mysteries of sex, duty and love.

The real treasures, though, are all those pre-iconic moments, all those launching points for beautiful friendships and future conflicts. In some ways this is one of the “lighter” of the “Star Wars” adventures, as we know beyond any doubt Han, Lando and Chewy will live to fight another day.

The movie was made with a lot of love and startingly fresh memories of the early 1940s, and reminds us once again that Spacek is a treasure.

There are moments in Infinity Pool where it’s a test of wills to keep your eyes fixed on the screen, but beyond all the gruesome violence, Cronenberg’s screenplay is filled with sharply honed observations about culture and class differences, and some wickedly satisfying twists and turns. This is a film that is bat-bleep crazy but knows exactly what it is doing.

What makes the movie fascinating is that it doesn't settle for a soap opera resolution to this story, with Pilar as the victim, Antonio as the villain, and evil vanquished. It digs deeper and more painfully.