The performers all fall effortlessly into their slapstick roles and the troubadour duo -- the film's Greek chorus -- adds a delightfully poetic touch.

The film is beautifully executed with grace and lavish cinematography.

If you want to discover (or get to know more about) a unique man who is as wildly talented as much as he tries to say otherwise, please watch The Times Of Bill Cunningham.

The movie is never funny, scary, spooky, or interesting. Bakalova and Davidson are trying their best but cannot buoy the picture. Badly lit, poorly shot, and sporting even worse dialogue, the film offers nothing to anyone, though it thinks it has something important to say. Pretentious and dull is the worst combination.

Even though the story covers familiar ground, it provides enough tension and humor in the presentation to make it worth watching

Thanks to the stylish direction and strong cast, the film is sure to terrify and delight everyone who dares to play along.

Yalda, a Night for Forgiveness, might start softly, leaving viewers unsure what it is, but very quickly, it becomes fascinating and engaging akin to watching a game where we have to discern the truth. It is actually strange, though quite disturbing in hindsight, to think of it this way, considering real events inspire the story.

Directors Jack Clark and Jim Weir deliver an unpredictable and eerie narrative that lingers long after. With its sharp character development and refusal to sanitize its dark themes, this Australian indie is an unsettling yet thrilling watch you won’t forget.

Kai Luke Brummer is a revelation in the central role, his introverted performance buoying the plot with nuance and charisma. We navigate through the horrors right alongside him, and we root for him, and in the end, despite a striking and sad realization, we gaze at the ocean and wonder if there’s hope for humanity yet.

The story of Happy Holidays starts out fragmented, so it’s a bit disorienting. But when the puzzle comes together, it clicks in a satisfying way.

Higashide effortlessly switches between the two polar-opposite men, both utterly convincing.

Perkins brings an entirely new perspective to her life and the events that lead to her untimely death.

Tenet is a film that will stay with you forever from its first scene, one that will tempt you to revisit it in part or as a whole, and that really tells you what it is: a masterpiece.

Sports fans will go nuts over it, as will anyone who appreciates the fine cinematic storytelling on display in the film.

The Bank Job secures the viewer’s attention pretty quickly and does not relinquish that hold for a second.

The screenplay has a strong sense of fun but after establishing its concept and characters it doesn't know where to take them.

A poignant reminder of why people used to actually listen to their radios.

Scheinert adroitly conveys both the pathos and the humor of the situation. As dumb as the main characters are, the film itself is very clever.

When morals and ethics become muddled, when right becomes indistinguishable from wrong, when there is nowhere to run, and the world closes in on you, what options do you have left? Though Abu-Assad’s equally muddled Huda’s Salon poses more questions than answers, they are compelling enough to warrant a recommendation.

If you enjoy learning about the Holocaust and how dark a time it was, or you just like a good love story, then check this documentary out.

What I can say is Jake Gyllenhaal is fantastic in this movie. I was skeptical about bringing in Mysterio as the potential antagonist (villain), and he exceeded my expectations. The FX-team transferred Mysterio’s powers from comic book page to the big screen beautifully.

Tell Me Who I Am is an incredible real-life mystery.

Not terribly engaging, but surprisingly moving.

This isn’t exploitation; this is a look at how things may have been with Harris and Klebold, and how something like this could easily happen again.

Although Penn is the focal point of Citizen Penn, the real citizens of this story are the Haitians. They are resilient, optimistic, and refuse to be labeled as victims. I do wish that we got to meet some of them a bit more intimately, that Hardy delved a little deeper into Haiti’s sociopolitical history. As it stands, it functions as a perfectly serviceable call to action, an extended, heartfelt PSA that neither glamorizes nor demonizes the actor.

I have a feeling Echo in the Canyon will be watched for decades into the future as the essential document of a very specific time and place that changed music forever.

One of Spike Lee's greatest films -- seamlessly merging personal drama against a canvas of larger social significance on a level worthy of "Do the Right Thing."

See You Then isn’t perfect, but it is sincere. Its aim is true, and the message of evolution, healing, and growth is sorely needed.

Greener Grass is over-the-top hilarity. It’s grounded. It’s smart. It’s downright disgusting.

The film's leisurely pacing is often too slow for its own good, and many scenes meander endlessly with no true payoff.

The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come. In Selah and the Spades, she has created a new classic tale of power, love, hate, loyalty, and betrayal featuring a stunningly talented cast.

Blood Relatives is a blast from start to finish. Noah Segan orchestrates a strong sense of atmosphere while still focusing on well-developed characters. His screenplay is whipsmart, while he demonstrates an excellent command of tone.

A very funny comedy. It’s a very funny comedy that almost made me cry.

It’s a pastiche of all the good anthologies we had back in the day, such as Tales From The Crypt, Creep Show, and more. It’s a perfect Halloween watch.

Fraught with all-consuming dread and familial mystery, Here Before is an emotionally and psychologically demanding thriller surrounding the loss of a child.

To both the filmmaker and subject’s credit, neither feel that the transition to Zoey should excuse past behavior, and the director lets her sit with her thoughts. She processes her actions in front of the camera as she surveys the wreckage of her life. This is what makes Whirlybird such a wholly unique story, ultimately resonating as a portrait of a deeply flawed person.

The movie stylishly portrays the story of the Chicago Seven with archival footage and animated sequences. Without reference to or retrospection from the present, Morgen crafts a film that is as pertinent as ever.

Without a doubt, making the most substantial impact is Thurman. While she has proven her versatility over the years, her work as The Bride shows that her talent is matched by her fearlessness.

A visually exhilarating trip through the darker regions of the subconscious.

Fahrenheit 11/9 is a call to action and a powerful one at that. It really brings something to the table that we’ve been missing, and something that most of the mainstream media is not well equipped to deliver, but Michael Moore is — emotion about injustice.

Every moment of the film is emotionally enthralling, perfectly bittersweet, and calculatedly daring, leading viewers down a beautiful path of hope and love that should award Happiest Season the success that it deserves.

Doff balances tones amazingly and directs visually striking scenes with gusto and confidence. His writing subverts expectations while remembering to be a story about humans, all the while being an exciting, nonstop laugh riot. All that makes the film more than worth watching. Then you add this truly outstanding cast who effortlessly embody their characters, and you have nothing short of a masterpiece.

The archival footage, reenactment, well-executed cinematography, and stunning wardrobe and makeup allow Framing Agnes to linger in your thoughts much past its ending. Joynt created an exquisite beauty that banishes the notions that trans is wrong or dirty and highlights how it is wildly misunderstood.

With Larroy, Texas, Atkinson proves himself a confident filmmaker and screenwriter with an ear for dialogue and skill in designing intriguing characters and situations.

Moore’s outstanding direction (seriously, how is this his first feature-length effort?) is stylish, subtly reeling one in, as the suspense and thrills slowly boil over.

Cha Cha Real Smooth is a series of reflections on life.

All told, Crazy Love is a rarity in documentaries; it's fun.

Taking on the melancholy, rain-tapping-a-window tone of Leonard’s music, Broomfield doesn’t try to draw a line through the story artificially but embraces the natural disorder of real life.

Bloody Oranges somehow registers itself as an important film and proves significant in every cinematic sense.

Everyone involved with the film brings their top talents to the fore, and the result is a touching, heartbreaking and an ultimately honest personal experience.

It's ironic that a film exploring the mysteries of how people succeed and fail to connect with each other then fails to really connect with its audience.

A mesmerizing documentary that shows the vulnerability -– and brutality -– that emerge when one is showered in recognition, only to have such fame pulled out from under him.

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

Maybe someday an enterprising filmmaker will make a film about this forgotten chapter in Muslim-Jewish relations. It would be a lot more compelling and memorable than the nonsense in Monsieur Ibrahim.

What Swinging Safari lacks in the story is made up in originality and a satisfying art direction.

So just do yourself a favor, get out there and see Ong Bak. You’ll leave the theater bruised and battered, but you'll be happy about it.

It’s a fascinating look at a really weird guy who, whether you know it or not, made a profound impact on all of our lives (because who doesn’t spend hours a day on YouTube?).

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.

Almost every scene impresses, has something to say. How refreshing is that? It’s been a while since a major studio production entertained and enlightened to such a degree, with nary a wrong step, for over two hours. If you can stomach the violence, you’re in for a hell of a ride. Here’s to the Western revival. I’m all about Jeymes Samuel leading this gang.

Swept Away is truly an amazing movie that is still as potent at 50 years old as it was back in the day.

It’s a feast for the eye and for the mind, done in a nonchalant way that would make the most seasoned filmmakers jealous.

An above average film, and features fine performances (Theron and McDormand are probably stone locks for more Oscar nominations), but be wary of the advertising pointing out the film's similarities to movies like "Erin Brockovich."

I enjoyed the buildup of trying to figure out how Larsen was winning the game, as well as this incredible cast shining in moments such as Goggins being flustered by unexpected drama unfolding on TV.

It's a damn impressive trick to build a film around narrative frustration and not cause your audience to run out screaming.

While the antics of the group provide hilarity the documentary suffers only because there is large amounts of padding.

Papers Spiders is everything you want out of a teen drama, more Lady Bird than The Fault in Our Stars. That’s not to say fans of the latter won’t respond to Shampanier’s genuine gem. Don’t let this one slip under the radar.

Fortune Favors Lady Nikuko explores what it’s like to be in the shadow of your parent, the lessons imparted by our elders, the value of a support system among women, the power of literature, the appreciation of food (frequently referred to as “yummy”), and the importance of staying true to yourself. Eat that, Pixar.

It’s a touching and funny tale about a family chasing their unconventional dreams in the world of sports entertainment. It has such a magnificent cast, and the story is interesting enough to entertain both wrestling fans and non-wrestling fans alike.

Say what you want about Mel Gibson, but that sadomasochistic anti-Semite knows how to shoot a movie.

The double-edged sword with Smile and its popularity means there may be a sell-by date after which many of the harrowing sequences become subsumed into popular culture and will no longer feel fresh upon initial viewing. This isn’t the film’s fault, but such is often the case when the public gets a hold of a work of art. See it with a crowd, and see it soon.

Just know that Sacha Baron Cohen is up to his old tricks, but he’s got some new ones, too.

Ask Dr. Ruth is a lovely tribute to the renowned sex therapist, but it’s not blazing any trails of its own as its subject matter has. As a documentary, it’s pretty formulaic.

What She Said: The Art of Pauline Kael is a wonderful visitation of the famed critic’s life. It’s also a great place to start if you know nothing about her.

Tiger Stripes is highly recommended for families looking for an off-the-beaten-path take on growing up. The body horror elements are never too terrifying, and I think even younger viewers can pick up on the feminist messaging.

Unfortunately, the outcome here is so over-the-top that it’s going to wind up alienating most everyone that sees it.

And Then We Danced works because of a tender and heartfelt performance by Levan Gelbakhiani.

No stranger to eliciting powerful performances from his entire cast, Ozon does it again here, with nary a foot stepped wrong.

Unfolding and sounding like a novel, Hartley's ensemble of lower-class losers clash and repel in a startlingly, unpreachy lesson about the importance and danger of influences.

While Florence Pugh and David Harbour try to inject some soul into the chaos, the film proves that no amount of punchlines can save a story that forgot its superpower. Sometimes you don’t need a group hug—you need a good old-fashioned throwdown.

The performances in the film are soul-saving.

One of the best movies of the year, and a great accomplishment for Messrs. Harmon and Schrab. Maybe now we’ll get a feature length "Robot Bastard" movie.

Smoothly seductive.

That’s it! I’ve had it! I’m packin’ up my shit and I’m movin’ to a trailer park down in…down south…somewhere. Apparently, there’s a lot more interesting people in these places than one could ever imagine meeting in their Starbucks bruised metropolitan areas or crosswalk guarded suburbs.

The one thing that keeps this movie from being an instant classic is its tendency towards childishly goofy humor. I guess it all depends on how you like your funny.

Relies heavily on strong performances from Brühl and Sass to make the illusion believable.

Performances are spot-on from the entire cast; each memorable character is finely detailed and full of eccentricities that are beautifully underplayed.

The result is a mature, graceful and extraordinary accomplishment.

The film begs for more action, thrills, and jokes, or more dramatic and painful revelations. What we get is an in-between mash of romantic ideals, a botched kidnapping, and some very good time wasted.

The Marriage shows us this problematic side of love with no judgment, which is incredibly refreshing.

On the pages of the script, it could come across as forced, but thanks to good direction, editing, and the performances by Robert and Fortas this love story works.

At barely over an hour, Deerskin packs quite a punch, and is bound to get under your skin.

Own The Room is fun, hopeful, and inspiring to any future entrepreneur and a must-watch.

Neither Confirm Nor Deny plays like a Tom Clancy thriller and opens a little-known door in American history.

New Life entertains with fast-moving shooting action, creepy screaming creatures, ample guts, and moments of profound humanity.

Gustafson gets great performances from her leads, yet the main storyline is not given a succinct resolution.

Yeo Siew Hua shows that surveillance isn’t only about control—it’s also about how we see ourselves through someone else’s eyes. In the end, the film leaves us unsettled with the idea that being watched doesn’t just change how we act, it changes who we become.

This is pure cinematic meditation, requiring a surrender to its languid tempo and hallucinatory vibes.

What Daniel Roher has done with well-worn forms is to use them as setups, but put them together with a twist in a way that seems fresh and exciting.