Hold Your Fire is well constructed. It is as suspenseful as a top-notch thriller and has the added allure of being true and impactful.

Ophelia is an amazing movie that puts a positive feminist spin on a very familiar story. I’d love to see more classic stories retold from a female perspective like this one, written by women and directed by women.

As a piece of acting, The Quiet American represents a fitting capper to Caine’s illustrious career; his portrait of a jaded sybarite whom history nudges into conscientious action is among the year’s most moving.

The film has a wonderful style and a sense of movement that barely slows down for its two and a half hours.

Crow and her crew accurately capture everyone’s emotions throughout and refuse to pull any punches along the way. At the Ready is honest, even in the moments when it becomes frustrating.

Whether you like blues or not, you’ll appreciate the musicianship on display here. Inspired and inspiring, Satan & Adam will make you thank the heavens for this legendary duo.

Mendes finishes things on a graceful, open-ended note. He adeptly handles unabashed romanticism and raw grief, optimism and hopelessness, significantly aided by Atticus Ross and Trent Reznor’s soft piano score. The music peaks during the film’s most fervent moments, both violent (a protest during the climax) and tender (our heroes climaxing in each other’s embrace).

It's not often that a film changes history, but it's just possible that Irish writer-director John Deery's righteously energetic Conspiracy of Silence just might help alter the course of 21st century Catholicism.

Up There succeeds where many dramas like this fail. It balances action beautifully with dialogue. Especially as dialogue-heavy movies tend to vomit exposition at a sickening rate. A hefty portion of character development and revelation comes from its performances.

If you love all things space, It’s Quieter in the Twilight is must-see viewing. A lot of technical information is unloaded upon the audience, but Miossi lays it out in digestible chunks.

Basir doesn’t shy away from glaring into the gaping maw of despair. But he skillfully counterbalances it with an energy that propels the film forward; how refreshing: this filmmaker has something to say.

Speer Goes to Hollywood is essential viewing for those who want a deeper understanding of the horrors Nazis committed and the still lingering aftermath.

In addition to a very engaging script, Forrest Whitaker and James McAvoy amazingly express the tension and the camaraderie shared by Amin and Garrigan.

The performance of Fathia Youssouf is impressive as she transforms her diminutive, naïve self into a towering force.

The Naughty Nine is a breath of fresh air from the usual holiday fare. Yes, it still has that feel-good message that so many Christmas titles have, but it goes about it uniquely.

Ant-Man and the Wasp is a hilariously, fun action-flick that takes the edge off the tragic ending of Avengers: Infinity War.

It's pretty basic here. You have a Bill Plympton movie. You know what to expect – complete rampant insanity from the mind of a mad genius.

The real-deal, packed with more excitement, vigor and fortitude than an unfaltering Magnum.

Decent vampire movies are few and far between, and I’m having a hard time remembering a recent one that impressed me like 30 Days of Night.

An extraordinarily charming movie.

With the endearing true story of Jack & Yaya and the power of documentary film, I am given hope that we will unite because of diversity.

To Kill A Wolf is a somber, moving, and deeply tragic film.

Camilleri captures the beauty of Malta in Luzzu. He shows us the island, the sea, the colorful traditional boats with faces painted on the front, and the glamour of sunset over the ocean. He also shows us life there can be destructively difficult for people trying to make it on the low end, as they struggle to maintain their traditions and pride while the world changes around them.

Transamerica is a modern-day Sullivan's Travels.

Linklater was a visionary experimenter in his youth, but now he’s grown into a true master, one able to buck the orthodoxy, not just for its own sake, but to achieve something transcendent.

For those who appreciate movies that capture almost every emotion -- from laughter to tears, suspense to tranquillity -- The Majestic was made for you.

Of course, Ballerina is not deeply cerebral cinema; rather, it’s goofy fun, but the filmmakers have elevated violence to a fine art, and it does play like a ballet in the elegant precision and breathtaking physicality of the performances. Enjoy it for what it is, and buckle up for an intense thrill ride.

In every scene, Blank’s work shines as a writer, a director and as an actor. Her relentless charisma and authenticity tinged with wit carry every scene of the film, making it a joy to witness. This is the arrival of a talented voice in indie film.

Radio Silence needed to make Scream their own, and they did it in a blaze of blood and guts glory.

Gerbase studies how loneliness brings out the worst, and sometimes the best, in us. She examines how some of us are more adaptable than others; how we are the products of our environment, creatures of habit. The film can also be viewed as a parable about autocracy, ruthlessly dissecting the abide-or-die mentality. Whatever you take from it, the drama is bound to hover over you for days.

Dark, disturbing and original throughout. You know that you’re going to see something a little different than your usual studio crap.

Framed may not be the thriller you want, but it’s a fine drama and morality play.

From the performances of its first rate cast to the infectious score and Audiard's deft direction, this is one of the most accomplished movies you'll see anytime soon-old, new or, as is the case here, combining the best of both.

You feel the horrors of those 12 hours. Abeckaser tells the right stories, from innocent festivalgoers to military-trained fathers, and to the mothers and children who perish. Before you utter the words, “Yeah, but…,” 12 Hours in October is pretty one-sided, and I’m not blind to the protests that have occurred in the streets and on university campuses in the U.S.

Jumanji: The Next Level is a fast-paced thrill ride, and fans of the original will not be dissatisfied. The writing is just as smart as the first, and the main cast revives its original magic.

Reflection is a great war drama for those who like slow cinema. It is also a contemplative experience for those who love a deep and multi-layered cinematic experience. It does not bombard the audience with anti-war propaganda; neither does it drive to a conclusion. It just paints a picture of the war and lets the audience reflect on it.

These actors and many more make What We Do Is Secret an absolute blast to watch and they do an undeniably perfect job of recreating this notorious scene.

The Irish humor and setting make for a lovely time with the film as we get a droll glimpse of daily life in Ireland, and things that are lost and found again.

Bad Press is a resounding documentary because of its quietness. It considers all the topics of the day — misinformation, government overreach, election scandals, and the list goes on. The filmmakers do so by showing that even the smallest, quietest town matters and that moral decay is always allowed to fester in the little places first.

This is brilliant filmmaking.

As with the Jarmusch’s best work, it is kept simple and taken very slowly and is just sort of allowed to happen. The magic lies in the lulls.

Overall, this is a strong feature debut for Alexander and Ford, but perhaps next time they can let a third set of eyes glance at the script.

This well made, slightly cornball and riotously comical romantic comedy not only extols the old fashioned American dream, but charmingly celebrates the virtues of the great American melting pot as well.

It’s Odessa Young that does much of the heavy lifting acting-wise, though overshadowed by Moss, as she is the one who ultimately transforms throughout the story. It wouldn’t be fair to leave out director Decker’s visual vision for the film or Sarah Gubbins’ screenplay as they continually keep you off balance from the start and second-guessing almost everyone and everything to the end.

The true-to-life repartee between the leads – at times tender, at others snappy, one minute heated, brutally cold the next – is a joy to behold.

Sean Penn's scenes are still so stunning...His Jeff Spicoli is an unabashed kick every second he is on the screen.

With an incisive script that trifles with emotional and thematic transparency, Krippendorff authentically captures what it is like to grapple with one’s burgeoning maturity and identity.

For all of its shortcomings, Wanted is a strangely enjoyable flick.

When done well, they are scintillating cinematic brain teasers, and Timecrimes is one of the best time travel films to come along in, er, quite some time.

An intelligently written, well-acted, and thoughtful film about adult relationships. I’m surprised it came out of Hollywood.

If there was one reason to see 40 Years in the Making: The Magic Music Movie is for its music. Constantly playing in the background, you’ll find an appreciation for how good this band was, how a band this good could never find success, and how the group’s dynamic tore it down.

If you want to see a movie that explores grief and death with a very unique and interesting twist, watch An Unquiet Grave. I doubt you’ll regret it.

Bronco Billy is an odd salute to those clean hearted good guy cowboys like Gene Autry and Roy Rogers, and Clint manages to revel in the glory of that myth despite the fact that he is probably more responsible for making that kind of Western unworkable in modern cinema than anyone else I can think of.

In the end, Jack, Kyle and director Liam Lynch ("Sarah Silverman: Jesus is Magic") have created more than just a low-brow comedy, they've created a comedic saga, a film more rock show than movie.

Ozon knows his camera placements, musical cues, and, of course, actors, and here he barely steps wrong, pulling us into the narrative, even while dialing back on his usual extravagance.

At its core, Come Closer is an unexpected reality check in a coming-of-age story about handling loss. Israeli writer-director Tom Nesher’s debut feature pushes emotions and reveals the underside of life, delivering a universal snapshot set in Tel Aviv, Israel.

It has to be said that the best thing about The Report is Adam Driver and Annette Benning.

Montreal Girls is as much a visual and sonic poem as it is narrative storytelling.

The strength of the film comes from the symbolic devices that decorate the strikingly illustrated social ladder.

Where this film thrives, is the honesty in each characters flawed being. Not one of the love- searching souls in the film seem to know at all what they’re doing, and that’s the truest part. Love is messy, and it’s damned confusing. A lot of the time, we ourselves get in the way.

What is surprising is how fresh Demme’s version is and how close it approaches the original in terms of quality.

It is a worthy return to feature directing by Jane Campion and a thoroughly relevant film to our modern discourse.

It's the speed and intensity that makes the dance style remarkable.

Of all the teen films released this year, this one is, by far, the best.

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.

Benjamin Naishtat directs with a steady hand and a strong vision. Pedro Sotero’s cinematography reveals the place and time in a respectful style that captures the period without satirizing it. This is a film that satisfies on every level and bears repeated viewings.

The deliberate use of CG effects, Dixie Egerickx’s performance, and its keen understanding of the true heart and message of the story make The Secret Garden worth watching and may find itself given the title of “classic.”

Millions is that rarest of creatures: a family film - one of surprising warmth – that won't have adults reaching for an airsick bag.

July Rhapsody has a flawless cast. Jacky Cheung and Anita Mui bring real dignity and wit to their portraits.

It’s as emotionally honest as it is engaging.

What you get out of Frozen II over the original is Anna and Elsa’s stronger relationship. They are together throughout most of the film, and their sisterhood is strong, fun to watch, and remains the heart of the film. Frozen II is a worthy sequel, and you’ll be glad Disney got greedy and made it.

I loved it. I'm glad it was made...Film Threat's association with Flynt would sometimes bring gasps of outrage or phones slammed down in disgust. Now, it brings curiosity and even admiration. Kinda weird, huh?

They should have produced this in 3D for IMAX as Metropolis is the kind of work destined to blow the minds of stoners everywhere.

A powerful no-frills drama. It's a film that never flinches from its colorful, if sometimes cruel namesake neighborhood and the people who populate it.

The real miracle of this film is in its performances and direction.

Chess Story is a subtle, soft-spoken killer of a film. It’s absolutely worth your time if you like World War II-era dramas. Seek it out.

All of these soldiers were valiant in their efforts to not fight in a war they felt was a deceitful practice in government fraud, and they succeeded through all the hardships.

For those who find that most “life-affirming’ films leave them nauseous and sometimes angry, Man on the Train is a miracle of genuine uplift working with two characters probably fated to die.

Resembling a gradual immersion into a fever dream, the film slyly pays tribute to surrealist greats like Alejandro Jodorowsky and Dario Argento (“presented by” the latter director, it wears the tag proudly), yet also introduces a unique new talent with a fresh, distinct vision.

With A+ voice talent provided by Meg Ryan (Anastasia) and John Cusack (Dimitri), Fox has a winner on its hands.

I definitely enjoyed Avatar: The Way of Water much more than the first. Its message of family and the portrayal of a strong father and mother protecting their children is refreshing.

Even if you have no idea what French philosopher Jacques Derrida's theories are about, allow your mind the chance to be teased and twisted by the unique new documentary.

An ode to the artist and his city, Jay Myself may just make you stop and recognize beauty in a random light pattern, or in the way dust blankets an old photo.

It is a violent, funny, well-acted pulpy delight.

This could have been an unmitigated disaster, but Hughes' way with the material ensured it a special place in the heart of just about everyone who happened to be in high school while Ronald Reagan was President.

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

Although the pace lags at times and the narrative is a bit cliched, Saint Judy reminds us what America represents to the world. This timely and inspiring film instills faith in justice and human decency.

Villains stumbles early on. However, due to the precise editing, excellent design work, and a cast that knock it out of the park at every turn, the film is still highly enjoyable.

Writer/director Maren Ade has a laid-back, almost lackadaisical style that feels breezy, lived-in, and rich.

Baumbach crams an impressive amount of characterization and humor into 82 minutes.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

A languorous and poetic study of faith, grief, love, death and regret, set against the disheveled, but gorgeously framed, backdrop of Lisbon’s ghetto.

Probably the Coen’s funniest movie since “Raising Arizona.”

With Tokyo Sonata, Kurosawa shows that he has quite the flair for dry humor and peppers this film with just the perfect amount.

The Jester 2 delivers an interesting story with great visuals, great sound, and a fitting score

The final result becomes a search not for a knight in shining armor, but one of acceptance for one's own identity.

Tsotsi emerges as being among the finest films ever to come out of Africa. It is a brilliant, jolting and altogether powerful blast of energy and emotion.

It elicits so many laughs, in fact, that you have to wonder just what Judge did to piss off the suits at Fox so much that they would willingly torpedo one of the only genuinely hilarious movies to come out this year.