Director Sabrina Van Tassel does an excellent job of drawing in the audience to the labyrinthian case of Melissa Lucio.

The Life of Chuck takes a moment for its storytelling technique to be fully understood. But the plot offers intrigue, drama, and mystery in one compelling package.

Highest 2 Lowest is brilliant filmmaking done as only Spike Lee can.

Rebel Moon-Part 2: The Scargiver is the cinematic sci-fi equivalent of that delicious chicken sandwich people punch each other in the face to get. Unscrunch your face and allow yourself to have an intergalactic blast like you did before you grew up to be so picky.

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

Hollywood Dreams & Nightmares: The Robert Englund Story entertainingly gives you everything you need to know about the actor and his life. Ironically, his story has ended up as an almost fairytale-like dream despite the nightmare that Freddy gives so many others.

An on-the-scene documentary filled with interviews, action, and archival footage, We Feed People is inspiring to watch and understand how one man can activate so many.

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.

The film is a stunning piece of visual poetry that will, hopefully, be remembered as one of the most important stories to be told in Australia’s film history.

Air Doll is beautifully shot and performed.

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.

Sirocco’s world resembles a phantasmagoric dream by Antoni Gaudí.

This is bold, relentless, and unexpectedly moving, it’s a standout entry in the wasteland canon and a thrilling reminder that even in ruin, there’s still something left to fight for.

It's brainy and brilliant, but despite amorous overtones and a few good action set pieces, it just doesn't generate the thrills or romance that would have made it a true classic.

Do You Trust This Computer is informative at the least. Everyone and everything comes off as credible, and the philosophy comes off as plausible. It effectively plants the seeds of paranoia.

The movie unfolds with an anxious pace and a consistent building of actions and circumstances.

A brutal mystery that's more beautifully poetic than the previous entries but still just as captivating. From opening to closing credits, every image is photographed as if it were a painting; even those involving ferocious violence are wonderful to look at.

Foul-mouthed, unapologetic, visceral, and authentic, Firecrackers also happens to be sharply edited, its narrative complemented by Casey MQ’s gorgeous electronic ambient/drone score.

An entertaining, clever look at the backstabbing actors do in search of recognition and fame.

Saving Brinton loses focus a few times, but its noble heart will keep the viewer engaged. Zahs is an affable chap, and his love of history is remarkable. His quest to save Brinton’s collection is an enjoyable one that will leave the audience happy and with a deeper affection for the way these films were shown back in the day.

I also think Herzog is making a case for those crazy enough to follow their dreams, even when they take you to the end of the earth. Literally.

It might be a typical Guy Ritchie film and loaded with every cliché in the book, but it’s still fun.

It seems as if all of the new animation competition has lit a fire under Disney's collective ass and they have something to prove again.

Vampires Vs. The Bronx is a great way to introduce your kids or pre-teens to the vampire genre, and a fun look at how Gen Z plans to deal with armies of the undead.

I liked The Tender Bar for its simple story and fantastic performances. But, honestly, it works best as a straight-to-streaming title, as it hits familiar beats and feels small in scope. Clooney has concocted cinematic comfort food.

The intentions of DTF are a little bit of everywhere. It’s sort of about the hollow experience of dating apps, sort of about the lonely life of airline pilots, and sort of about addiction. However, I think its most flattering angle is that it’s about someone slowly realizing his friend is sick—in every meaning of that word—and potentially unsavable.

Rose Plays Julie is an emotionally cathartic thriller.

This is a weird little movie, and it's an interesting trip accompanying Dick Ritchie on his transformation.

Simply a two-hour rave, an acidic, ecstatic trip through the not-too-distant past in a world called Manchester.

Confirms that despite all the technical tools at their disposal, one thing counts head and shoulders above razzle-dazzle eye candy (or anything else, for that matter): the story and characters, and Monsters, Inc. introduces worthy additions to the Pixar pantheon.

An emotional picture that benefits from the extremely powerful performances of its stars.

While it will not win many (if any) awards, The Blackening is hands down the best time that has been offered up in a movie theater since the Dungeons and Dragons movie last March. This horror comedy plays with genre conventions in a sparkling and vividly delightful way.

This documentary is an eye-opener to the future of this ever-shrinking yet growing world.

Blind Ambition has plenty of drama to make a wine tasting engaging for even the most devout tea-totaller.

The Machinist is so brave and visually impressive, it should demand an audience.

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.

In a genuinely brave performance, Seth Rogen sheds his frat-boy comic styling and delivers an unflinching portrayal.

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 a few flaws are present, the directors and screenwriter deliver a high energy bloodbath with several creepy scenes, excellent puppetry work, and a cast that shines brightly. It is well worth a watch, and I greatly look forward to a sequel.

The more unpleasant aspects of the case are minimized in favor of telling the story and highlighting the effects of the case on these four men. It drags in spots, but even if Fincher hasn't hit it out of the park, Zodiac is easily a stand-up triple.

In a film full of great performances, Ralph Feinnes steals the show as Harry, the boss.

It is both inspiring and beautiful and makes an even stronger case for protecting shark since Sharkwater. The message is heavy-handed, but his visual images are stunning to soften the blow.

Beneath its morbid exterior, Sunshine Cleaning projects a tender portrait of how people help out others and seek a better life for themselves.

By and large, reviewers have conceded that the picture is exceptionally gripping and suspenseful while deriding its moral subtext as a crock. The only explanation possible for such fuming pettiness, in my opinion, is the fact that Michael Haneke isn’t one of us.

Caviar is an audacious first feature. But King’s confident direction and bold storytelling give way to a thrilling experience. While the deepfake technology ranges from good to not, the cast more than makes up for it.

One of the funniest films I’ve seen all year.

Moon is one of those rare gems of the sci-fi genre that takes its acting as seriously as it treats its special effects.

A sweet, introspective, and touching story serves as the heart of this outrageous and twisted dark comedy.

The shared experiences of the Bonds around the world and the extraordinary consequences of having that name are interesting. For budding documentarians, this is an example of a film birthed from a simple “I wonder…” statement. Through research and diligence, filmmaker Matthew Bauer managed to string together an intriguing and engaging film.

The situation’s gothic stylings and the isolated yet sprawling location give us a mile-deep trench of dread. The musical score, solid direction, and envious camera work all add finesse to the proceedings.

Great movies to me are stories that engage from start to finish and ask important questions at the end. The Dutchman does that from start to finish. Moral tales point out how flawed we are, and suggest a better way forward. And for Clay, that journey is far from over. Enjoy.

I love the chemistry between Lawrence and Feldman. The comedy is funny and unafraid, and importantly, it has a heart and emotion that works. We need more movies like No Hard Feelings.

Just the type of small film that, if given a chance to be seen by audiences, could become somewhat of a hit for grownups ala "Sideways" or "The Squid and the Whale."

2040 is a fantastic and informative documentary.

Excellent acting, great music, amazing artwork and gorgeous Christopher Doyle type cinematography make this film an absolute treat to sit through. It's like a big piece of candy.

While The Dawn Wall brings you up close to the miraculous feat of Caldwell and Jorgeson, the backstory (particularly of Caldwell) is just as amazing.

Visually sumptuous and brilliantly filled with black humour, Influencers doesn’t pretend to be a healthy genre film. It’s cinematic satiric fun on the level of a Punch and Judy show.

There’s a reason 70s cinema is so revered for astounding character studies. In this age of superheroes, it is nice to have a throwback that lets us see some normal humans working out their differences the old-fashioned way — by being stuck together.

I couldn't escape the fact that Revolutionary Road seems like a really, really good episode of "Mad Men." There's smoking, drinking, cheating and like the excellent TV show, the lure of a bigger better deal always rules the day. But the film differs in many ways once you get beyond surface appearances.

The renowned artist’s life is so compelling that her story, simply told though it may be, is still incredibly gripping and engaging.

If there is any complaint to be laid against Big Hero 6, it is that the team itself takes a back seat. The story is primarily about the relationship between Hiro and Baymax. This is not a negative comment because the relationship between the boy and his robot is endearing and effectively told.

The Grand is a fast and furious comedic attack that begs to be seen again. There’s just so much going on, it’s nearly impossible to keep up.

The pacing is perfect and there’s no shortage of interesting revelations, and let’s face it, there aren’t many more subjects under the sun that are more interesting than serial killers. Consider "Aileen" to be an essential viewing companion to its dramatic narrative counterpart.

A fine little comedy and a hilarious character study of an ego gone wild.

Decision to Leave deals with the biggest subjects humans have to grapple with: love, sex, and death, and does so in what amounts to a serious, dramatic fashion.

Invisible Demons is tough to watch because of the shocking images and facts presented, but it is done with purpose. The purpose is that we all need to start living cleaner and healthier lives so we can avoid getting to the point of no return.

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

Not just one of the best "comic book" movies ever made, but also one of the best films of the year.

The crux of the story rests on the relationship between David and Nic, and Carell and Chalamet truly bring the characters to life with their raw, humanistic performances indicative of the open wounds displayed onscreen. The film nimbly captures the bitter animosity that only arises amongst those whom we love most.

Godzilla, King of the Monsters! is the story that began it all, laying the themes of Japanese kaiju that would endure for decades.

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

The suspense in Tailgate is cringe-inducing. Crijns keeps his foot on the gas for the entire runtime, artfully ensuring that neither the victims nor the audience ever gets a moment to breathe. Even with a premise we’ve seen before, this film delivers right up to the credits and beyond.

Brad Bischoff’s subdued drama Grasshoppers leaves a lasting impression, certain images glowing like embers somewhere in the depths of the viewer’s mind long after the credits roll.

Filho masterfully turns a tale of survival into a deeply human story about love, loyalty, and the cost of integrity under tyranny.

One definitely has to have an appreciation of the absurd to enjoy Diamantino.

It all works as a schlocky TV show. Mainly because the cast is on point, with a broad set of appealing characters generating their own stories well within the overarching silliness about the outside world.

Loaded with tons of personal stories told by both Johns (the two main members of They Might Be Giants) as well as people within the music industry.

The Earth Is Blue As An Orange is probably one of the most unique documentaries about filmmaking.

Quite possibly Clooney’s best effort to date.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

Dunn does an incredible job of condensing this extremely complex battle into a story that is simple and understandable, as well as extremely compelling.

A Good Woman Is Hard To Find is an extremely harrowing, tense movie that has such an unbelievably satisfying payoff.

The kind of film that you just don't want to end.

Mixing dark comedy and mild suspense, Dan Mirvish’s 18 ½ is not the movie many would expect it to be. But the unpredictability of it all makes this madcap political fiction thoroughly diverting.

Jenkins' film ranks as one of the past year's very best. Like "In Cold Blood," "The Onion Field" and "Dead Man Walking" before it, her picture provides a mesmerizing portrait of the human side of evil.

It’s only by understanding what went wrong that we can hope to recognize the warning signs next time.

Bulworth has the distinction of being the only summer movie that might make you think and for that, it definitely deserves ample praise.

At a crisp 90 minutes, Cordelia is as enigmatic as its title character for the majority of its runtime. But with its lush cinematography, archaically creepy set design, and outstanding balancing acts from both Campbell-Hughes and Flynn, it’s never muddied to the point of being opaque and remains enthralling throughout.

It dares to tell an honest history, warts and all, from its inspirational beginnings, which led me to become a Christian to its rapid decline when I learned that even the godly were imperfect people. But then again, maybe God can still use these miscreants of music.

I don't know if this movie could have been made with anyone but Chow Yun-Fat. As Chen, he finally is allowed to display the nervous energy and Eastern rhythms we associate with his Hong Kong work.

Anyone with an interest in horror can appreciate it; its primary audience is unmistakable: women who love the genre, who see themselves reflected in it, and who continue to push it forward.

The script is solid, the cast is excellent, most of the special effects are impressive too.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

When this actor (Swank) steps into the right role, she wears and inspires it like Denzel Washington.

Bunker is a gripping little thriller with solid characters and impressive visual flair.

Not only is it gorgeous, but an excellent primer for the young set into South Asian culture.

Beyond the Gaze: Jule Campbell’s Swimsuit Issue is one of the year’s most compelling and thought-provoking documentaries.

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