Perry creates an objective yet not overly dry character study of the man, now a fugitive living in Japan, as he recalls his days in power.

Cegavske's film is a meld of surreal imagery, and a morbid somewhat horrific story that art lovers will enjoy. Horror fans need apply.

The film builds everything up just to smash it and laugh, like a kid playing with LEGO.

It’s a fascinating study of contradictions in values, made by and featuring women who want to transcend those contradictions.

Heder infuses the characters and plot with such deep emotion it makes up for its lack of narrative originality.

I'm not sure Sam Mendes' latest is a masterpiece as so many critics are exclaiming but it is very probably the most artful and earnest drama ever adapted from a comic book.

August so firmly establishes characters of Martin and Barbara and their relationship, so when the disease does enter the picture, the film does not suddenly become about that; the focus clearly remains on the effect it takes on the people.

A well-intended but hopelessly ill-focused documentary which wants to be the "That's Entertainment!" for the New York theater but seems like a hodgepodge of anecdotes, factoids and moldy memories.

The movie is set up to pull the heartstrings, and it’s very effective at doing so. You care for the characters and what happens to them, and you leave the film wanting to know more.

The film is professionally made but a thorough bore at every imaginable level.

Doesn’t always hit all the right notes...But in the end, Affleck displays a surprisingly sure hand, and Gone Baby Gone largely delivers.

The Last Stop In Yuma County is a stylish, great-looking noir with an excellent cast.

Overall, New York Doll is an affectionate (occasionally too much so) look at Arthur Kane.

With a deep respect for community and history, Unkovski weaves a sense of time and place throughout, capturing the harmony and imbalance of living through dialogue, people, music, and work.

This touching film will undoubtedly make you sympathize with its protagonist, wonderfully interpreted with gentle poise and nuance by Diop.

Burton fans and those eager for a more accurate adaptation of the novel will be happy with this new movie, while nostalgia-addled Gen X-ers and stoners of all ages will always have the original.

In the end, Restoring Tomorrow reminds us that you can restore an old historic building to its original beauty, but it’s ultimately about the people.

A pretty great little movie.

It’s a welcome addition to the national debate, which while not always on the money, is consistently thoughtful, smart and thoroughly satisfying.

It's a remarkable film; the dialogue takes our breath away with its sharp skewering of expectations and realities, the bleak honesty is balanced by the freshness of real life and moments of raw truth and comedy -- Don't miss it.

Bell is as hilarious as ever. But she also emotes great empathy. Those smiles and tears are genuine. Fittingly, she’s given all of us going through the same thing what we have been looking for: a step in the right direction.

It’s the investigative portion of the movie that is most engaging.

This extraordinary work of cinematic art is among the most sublime, compelling and beautifully crafted films to grace the big screen.

I like this film because of its nuances and hilarious banter and dialogue, which speak to the soul, not just what’s happening on screen.

Best Summer Ever wants to do so much at once that it never slows down to allow the more dramatic moments to sink in properly. But, as a showcase for the cast and crew, it works rather well. Most of the songs are good, the dancing is energetic and well-choreographed, and it has charm to spare.

The film effortlessly examines hefty themes like freedom, toxic masculinity, privilege, familial bonds (and the need to escape them).

This film is not going to be for everyone, but for those who love horror served with a mean little edge of snarky humor, it’s quite a ride.

Hal is a loving tribute to a filmmaker who rarely gets the attention he deserves.

Finally receiving a theatrical release 20 years after it was made, Philip Hartman’s “No Picnic” emerges as an entertaining if flawed relic from a very different era.

Again, if you love Lou Reed or even like Lou Reed a little, musically this film is worth your time.

Visually stunning and contextually provocative, God Grew Tired of Us is quite simply one of the most beautiful documentaries I've ever seen. Intelligent, heartbreaking, uplifting, humorous and reverent, the film is an adventure in what it means to be human.

While the film missteps in a few small places, it's charm, wit, and heart make Kissing Jessica Stein one of the few "must see" films of the year; quite an accomplishment for novice filmmakers.

So ham-handed and relentlessly overbaked that it is easy to see why audiences initially stayed away from it. Just when and how did anyone come to see this as a classic?

More than "Rocky" on a horse track. It's a moving story about people and how their lives intersect at just the right time. It's also a simple story about second chances.

For non-actors, everyone in this film really pulls their character off extremely well.

At its core, Lots of Kids, A Monkey, and a Castle is an intimate, humorous, and heartfelt love letter to the filmmaker’s mother and her indomitable spirit and will to rise above the inevitable pitfalls of life.

While Bong Joon Ho delivers his signature visual flair and Robert Pattinson fully commits to the existential dread of his endlessly disposable character, the film struggles to keep its high-concept ideas fresh past the first act.

It's a love story without all the verbal hooey and it hits harder than most.

With splendid assistance from cinematographer Mohammad Reza Jahanpanah, the filmmaker immerses his viewer into a milieu both relentlessly grim and breathtakingly gorgeous, endlessly vast and claustrophobic, evoking a vibrant halo in the midst of hell.

Like Lucy, herself, Am I OK? does not really discover itself until much later, but once it does, it confidently strides to its conclusion.

Gaucho Gaucho is a celebration of a community of Argentine cowboys and cowgirls who live beyond the boundaries of the modern world.

Under the guise of a straightforward love story, Sethi’s film reveals itself to be an incisive look into the long-running Indian tradition of arranged marriages and its implications, set against the backdrop of a rapidly spreading COVID-19. If that sounds heavy, it’s anything but, the writer-director ensuring that things don’t get bogged down in ponderous polemic or pretentiousness.

Great science-fiction storytelling is not going to come from the big studios anymore. We will find it from new filmmakers with big ideas and very little money. But thankfully, big ideas attract big talent (then hopefully big money), and that’s what we have with Edson Oda’s Nine Days.

I wanted to like Superman Returns, but Singer and company are so concerned about doing justice to Superman’s past, they fail to generate much interest in what, if any, future the franchise might have.

Shinkai’s animated feature may sometimes seem like it was dreamt up by a 15-year-old teenager. It may move at a leisurely, awkward pace that threatens to come to a dead halt at points. Yet when it takes flight, it soars.

In his inevitable next feature, Cronenberg could use more, dare I say, logic and warmth, to counterbalance all the madness and viscera. Otherwise, gorehounds and cineastes: dive right into this viscous pool.

Director Darren Aronofsky, creates an eerie "Eraserhead"-like world that keeps the film compelling even when it digresses into a silly cat-and-mouse psychodrama.

In addition to the socio-economic impact, Good Hair also explores how hair care affects the African-American community in confidence (both personal and race-related), romantic relationships and every day life.

Sometimes, the greatest tales in rock n’ roll involve bands or singers who haven’t made the Hall of Fame or made the playlists for classic rock stations. If you want both the best sounds or the best stories, you have to search. Thankfully, Bobbi Jo Hart has saved the rest of us a lot of effort with her new documentary Fanny: The Right to Rock. She doesn’t have to exert herself to prove that the early 70s combo deserves a place in the pantheon. The ample performance clips from the era speak for themselves loudly.

If you’ve ever had a friend or family struggle with an addiction, you know that nothing you say or do will change their ways. It seems to always happen at their rock bottom. Nora Fingscheidt’s feature, The Outrun, starts at the bottom.

Heavy Trip is an absurdist, powerhouse folly, which feels spunky enough to honor the musical genre and comes filled with deadpan hilarity to please comedy addicts.

Screwball is an entertaining way to bring a very serious scandal to light.

Luce is a quiet stunner, ready to unnerve you in unexpected ways.

The result is crisp, brutal and utterly inspirational.

Those expecting that a movie about an occult sacrifice to ever become scary will be disappointed with Extra Ordinary. The filmmakers use the trappings of that kind of film for an all-out comedy. Thanks to its nonstop jokes, strong, likable characters, and marvelous cast the movie is hysterical.

A bit more pragmatic, rambling, less lyrical, and not as laser-focused as Herzog's previous documentaries.

Dark Money does succeed in presenting a strong case for campaign finance reform.

Hellboy just might end up being one of the best movies you see this year.

This film is filled with bursts of color. The high energy visuals counterbalance the tragic malaise of Goldie’s life perfectly.

Days of The Whale is a quiet, beautiful coming of age story.

Hardly any of The Painted Bird is what you would call pleasant. It is often a difficult watch at times but is a consistently engaging one.

The Mad Women’s Ball avoids caricature or stereotype, though the grounds it walks may seem somewhat familiar. Laurent treads them with skill and passion, immersing us into a period wildly different and dishearteningly similar to ours.

It’s a great comedy, and a deeply touching one, too.

As it stands now though, the acting is good, but the narrative moves like molasses, leaving the audience at a distance.

Craig is terrific.

It’s Plemons, who’s always stellar, that proves to be the real revelation.

Master Z: The Ip Man Legacy is a big story with big action along the lines of Carlito’s Way. You can easily jump in on this story without needing to see the previous Ip Man films.

Not since The Florida Project have I felt this emotional about a story of children forced to grow up way too fast.

Cronenberg has created a mind-bending trip of a movie with more to say than your average actioner and is supported by spectacular performances and make-up and practical effects that seal the deal. Brace yourself. Possessor is brilliant.

There’s a lot of emotional and intellectual material that writer/director Josephine Mackerras grapples with in Alice, and she is quite successful in doing so.

Syms’ debut is anything but desperate; au contraire, this is the mark of a relaxed, confident filmmaker with a long, bright future.

Thanks to Sam Raimi’s inventive style and Bruce Campbell’s hysterical performance, the horror-comedy genre has grown into a legitimate genre, but Evil Dead 2 will forever be the king.

I saw this movie in a room full of San Francisco movie critics, and I haven't heard that much laughter since, well, the piano duet in "Island of Dr. Moreau" (which you must admit, was pretty funny.)

Dean’s style of method acting and sheer charisma jumps off the screen (along with artful cinematography).

An essential for all serious humor fans who don't mind verbal grossness of the most extreme sort.

For fans of Breaking Bad, it’s a satisfying return to and continuation of the story.

Should become required viewing for all troubled youth, their uncertain parents, the military establishment and their detractors or supporters.

Mortimer delivers as a mentally disintegrating wife, but it's Harrelson who provides the most fun, playing against type as the down-home Roy.

The cast is top-notch and I predict there will be plenty of female audience members drooling over Michael Idemoto as Michael.

This is an amazing black satire filled with vicious biting words that snap like firecrackers.

I will say Candyman is worth watching. But I will advise not going in with preconceived ideas or comparisons to the original because that is where the disappointment will hit you like a brick to the head.

Into The Weeds is a most satisfying but frustrating experience. The satisfaction comes from how well-made and engrossing the film proves to be. The frustrations lie in the true story being documented.

Daley and Goldstein have written and directed a fabulous paean to the granddaddy of Tabletop Role-Playing games that is just so much fun.

Check out The Life of Reilly, for a real-life example of carpe diem energy too pure and unrefined to be silenced by discrimination or negative family vibes.

This is a spacious, robust movie that grabs hold of us and doesn't let go for nearly three hours.

Despite the inherently moving story and the respectable work of director John Lee Hancock and the cast, something remains absent throughout the entire film: a certain sense of verve and personality.

The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.

Aside from all the known material on public record the filmmakers chose not to use, Howard isn't even capable of believably bringing this off.

Mister Roberts is a movie dedicated to anyone with a boring dead end job who wants to be a hero and has to decide whether to live honorably anyway.

A far as coming-of-age stories go, Once Upon a River is a very sweet story. There’s not a lot of fluff, but there is a lot of heart in a story based on a novel and feels in a way like a novel.

In many ways, Let it Be is the best Beatles film of all since they are not playing the Beatles but rather are being themselves.

In preparing A Compassionate Spy, James seamed together a spellbinding collage concerning the life and times of Ted Hall and his family. It is a wonderful documentary, and I encourage everyone who wants a greater sense of the story of the Atomic Age to check it out.

I did not like MidSommar as much as I appreciated its audacity and the skill that clearly went into making it. This was a stunning work of art that embraced excess with only mostly positive results.

Bacon's performance is so riveting that you no longer see the 46-year-old actor.

When it comes to survival tales, Society of the Snow sets a standard that will be difficult to top.

A film like this has to be seen. It's beautiful, it's encouraging, and it really inspires its audience to commit to something positive.

Plagues & Pleasures is kinda like one of those travel videos, except it's offering you a vacation like you've never had before and it's not loaded with bulls---.

With brilliant dialogue out of the 1940s and graceful visuals that add depth to the dark comedy, Johnson debuts with a smart, self-assured feature that portrays adolescence like no other film has.