The movie is true to its own fierce vision and it's the better for it. I haven't seen a stronger or better American movie all year.

Made near the end of Buñuel's career, it's not his greatest movie, but it contains some of his most memorable moments.

Weerasethakul's latest has received mixed responses on the film-festival circuit, yet while it's anything but commercial, it's also anything but unadventurous.

A supremely cranky and lyrical feat.

This wry comedy drama has excellent acting and surprises galore.

A major treat for the eyes.

Extravagant and funny it is, and also quite dark at times.

In the end, the finest achievement of Wright's movie is that it fully captures what Martin Amis, writing on Pride and Prejudice, said of Austen: "Money is a vital substance in her world; the moment you enter it you feel the frank horror of moneylessness, as intense as the tacit horror of spinsterhood." All that, and a great love story, too.

Yang favors a gentle and introspective style that shows how deep and strong everyday emotions can run. A memorable treat.

Content and style dovetail superbly in this offbeat drama, where images continually change in size and shape, evoking the story's message that human experience is always a pathway, not a destination.

What makes the movie powerful is Timoner's decision to structure it via Taylor's perspective on his competitor, with no holds barred.

A hilarious and harrowing cautionary tale.

Tuneful, colorful, delightful.

Stillman brings his usual sharp wit to this exploration of upper-middle-class angst, completing the comic trilogy he began with "Metropolitan" and "Barcelona."

First and foremost a very funny film, and a very pleasant one that doesn't really have a villain. Credit for its hilarity goes largely to Black, who gives the performance of his career as a character who might have seemed merely coarse and crude in less gifted hands.

The latest installment is packed with surprises and emotion for people who've seen earlier stages of the project, but even newcomers will be fascinated by the vivid glimpses it provides of everything from love and family to political action and the pervasiveness of class distinctions in British life.

The story is so powerfully observed that it does indeed become larger than itself – an American tragedy.

From its star-studded cast to its indelible camerawork by the legendary Giuseppe Rotunno, it's an unforgettable experience by a revered master of European cinema.

This sometimes harrowing, often delightful drama stands with his (Sembène) most compassionate, colorful, and artfully filmed works.

Look for realism, and you'll find The Cooler disappointing. Look for a far-fetched yarn that's as unpredictable as a throw of the dice, though, and you'll find it engaging fun.

Florence Foster Jenkins isn’t really about how passion trumps art. It’s about how life is more important than art.

A heartbreakingly powerful masterpiece.

What makes this small-scale drama so compelling is Pontecorvo's treatment of the main character.

There's a new visual idea every second, each teeming with energy, pitch-dark comedy, and inspired cinematic lunacy.

Movie-style romance may never look quite the same. Neither will flower petals.

A complicated story that demands your full attention; Mr. Gondry unfolds it at a mind-bending pace. This alone makes it a hugely refreshing respite from ordinary multiplex fare.

The director's cut of this 2001 cult fantasy is a deliriously subtle exploration of storytelling possibilities, and a deliciously wry teen-pic to boot. Brilliant.

A riveting movie.