Come Away is just a heart-rending, joyful, and gorgeous movie that everyone should take their kids to go see.

Cage and Kinnaman work well together, with the former being gloriously over-the-top and the latter keeping things grounded in a form of reality. All in all, this thriller works from beginning to end.

There is still life behind the eyes of each weary face and still deep-felt reasons to strive for a better tomorrow, even in the wake of such destruction and desolation.

The King of Staten Island is big on heart, but short on laughs (in comparison to Train Wreck and 40-Year-Old Virgin), but that’s not a negative. I like that there are only a few over-the-top moments. The laughs occur as a way to break up the seriousness of the story. It balances drama and comedy perfectly.

It’s not perfect, but it’s unforgettable. Call it a miracle, call it a parable, call it cinema that dares to believe.

Mission Impossible: Fallout is a worthy addition to the franchise and a fast pace thrill-ride. McQuarrie manages to keep the story, stunts, and structure fresh.

Mapantsula is timely and relevant 35 years later.

The film captured why Joan Jett is amazing not only as a musician but also as a human being.

Far from being a mere polemic, The Ground Truth is bolstered immeasurably by Foulkrod’s almost exclusive use of interviews with actual veterans.

In many ways, Dragonslayer is a realistic fairy tale. All of the classic pieces are here: heroes, bad guys, monsters, virgins in peril, mysticism and staggering odds.

In the end, The Roses feels like a genuine comedy comeback. Jay Roach proves he hasn’t lost his touch, pulling together a film that blends smart writing, impeccable timing, and powerhouse performances into something that may just be a classic new take on a rebooted story.

Björn Runge’s The Wife is an unmissable drama, largely in part to Glenn Close’s stunning performance in the title role.

Sun Yi’s stoicism is admirable and moving, but it’s his ex-wife Fu Ning’s tearful recollection of their separation that cements the story in your mind. Her testimony does what so many activist documentaries fail to do: make large-scale suffering real to the viewer.

The best movie ever made about baseball, and it's not even really that close... "Major League" was funny, but Bull Durham is funny, literate, romantic, and overwhelmingly adherent to the idiosyncracies of the game.

Journey from the Fall re-educates as well as entertains, but never takes the easy way out, nor does it preach. In the end, it's a snippet of one family forever altered, and despite all the political undertones, it's the human level on which the film succeeds most of all.

The film becomes at once an argument for the accuracy of fictional conventions and for the power of true, personal experiences.

A film called My Wonderful Wanda needed more exploration of the title character.

It’s a historical slice of life that not even most Canadians get to see, never mind the rest of the world, yet the tale is told more with emotion than words, and the language barrier melts away like the snow in spring.

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

Everyone has defined, and distinct characters and no one is phoning it in. Just sit back and enjoy this unique romantic comedy.

The film goes beyond a nature movie with excellent photography and the determination of the animals it documents.

Haunting and chilling, yet biting black tragi-comedy.

Joy Womack: The White Swan is a riveting, bold, and inspiring documentary exploring the life of an American ballerina who paved her own way to success.

An over-the-top celebrity cartoon of cool and a tilt-a-whirl of fun.

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

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.

While The Pact may sound overly sinister to some, August extracts ample nuance out of the cast, ensuring we’re never left without sympathy for Karen. The film’s success hinges upon Neumann’s calculated performance, and she gives the role the requisite amount of ambiguity, keeping the audience guessing as to her true motivations.

Coming Clean is an indictment of capitalism run rampant, and, once again, profit taking precedence over human life. Hats off to the frontline warriors taking on this cause.

Jesus Nebot pulls off the impossible task of not only being the writer, director, producer, and star of the film No Turning Back, but makes it all work into a satisfying and socially conscious film as well.

The faux-doc/tone-poem hybrid My Winnipeg is a worthy product.

This version stands on its own, problems and all, as an interesting tale of an anti-hero… or is it about a tragic villain?

Buoyed by the palpable mutual respect between filmmaker and subject, this study of Powell’s life manages the feat of being as candid as Powell’s photography of gritty city streets and major pop culture icons like the Beastie Boys.

The film never feels preachy or overdone; instead, it embraces an authenticity that makes its emotional impact all the more lasting. It’s the kind of indie gem that resonates because it understands that the smallest moments often carry the most meaning.

Caramel will likely be the Lebanese selection for Academy Award for “Best Foreign Film;” it’s inconceivable to me that it won’t win, but it’ll still be an injustice if it does. Caramel deserves to be in the categories with the big boys, so to speak, and whoever wins for Best Actress will be the second most deserving actress of 2007.

Not only does this film have the coolest title ever, but this bittersweet, multi-layered comparison of life's realities versus life's potential is as compelling as it is deeply resonant.

The filmmaker performs an astounding feat of maintaining the perfect balance between self-awareness, alienation, warmth, comedy, and pathos. Apples is a singular experience.

There is a wealth of smaller dramatic triumphs of sly gestures, body language working at odds with spoken words, and minor goofiness (such as repeatedly blowing the rim of an opened beer bottle to create a rough whistle) which makes Home more humane (not to mention more human) than the vast majority of today's movies.

The performances of the three leads and all of the cast are all solid and authentic. The film looks and sounds great.

This film could have been something great, but with an unsatisfying ending and a couple of subplots that felt like they didn’t fit, it gets knocked down to just being entertaining.

Dispenses with all the flourishes and focuses purely on the story and the characters, the gentle humor and the heartrending moments. It all leads up to a wonderful final scene, a knockout punch that cements MacLachlan as one of cinema’s indie greats.

Stiller is laugh-out-loud funny from start to finish and anyone that may quibble about plot minutiae, is just not ready to have a good time.

For Reijn, nothing is off-limits. Reijn is already aware of the criticisms that will and have already been levied on this film, and she’s laughing with cinematic spunk and a robust authorial presence.

Lock is filled with great writing, great acting, colorful characters, and a tight story. I actually like this film more than "Pulp Fiction".

As it stands, Lorelei is perfectly imperfect. It demonstrates a filmmaker willing to go for broke, examine the dark recesses of our minds that others are too timid to touch.

You’ll like All Creatures Here Below because you connect with the leads and their story and want to take part on their journey…for better or for worse.

Rare is the motion picture which grapples with issues this provocative and profound. Rarer still is one which does so this well.

It’s one thing for a movie to have a good soundtrack. It’s even better if the filmmakers know something about how music is made.

Employee Of The Month ratchets up the zany antics into a thrilling and hilarious conclusion. By the end, the point the filmmakers are driving home is well made and never feels didactic. The cast is great, and the ending is pitch-perfect. So get ready to laugh until your sides hurt.

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---.

Higuchi’s knowledge and commitment to the lore, franchise, and Toku genre make Shin Ultraman a must-watch for fans. The film balances classic tropes and introduces new characters in a format allowing any newcomer an ideal entry point into the many Ultra-verses. It’s a masterclass on reintroducing a beloved character while keeping the overall legacy in mind.

Much like the dynamite ladies that Mumolo and Wiig wrote and refreshingly bring to life, Barb and Star Go to Vista Del Mar is shimmery, vibrant, and as welcoming as a great big hug.

Twinless delivers a sharp take on grief, deception, and unlikely connections. Characters are pushed into situations both painful and oddly tender. By the end, the film leaves you squirming but fully invested, proving that even the strangest setups can lead to an emotionally devastating payoff.

It shows just how much can be done by a single actor on a single set with a filmmaker full of determination.

Higher Learning is John Singleton's interracial state of today's campuses version of School Daze minus the musical numbers. Surprisingly, it's just as much a gang movie if not more than Boyz 'n the Hood.

The movie’s ability to flirt with the familiar and completely turn it on its head is what keeps Psycho Goreman so perversely fresh and fun throughout. It never once betrays its dark heart and continually trots out practical creature effects that tumble out of a GWAR nightmare that keep it engaging, unique, and deliciously deviant all the way to the closing credits.

I think this one of the first King movies to legitimately give me the creeps.

A lack of flash or energy does nothing to detract from the sheer depth of film exploration present in The Story of Film: A New Generation.

Aggie is a film every art center in the country should show to its supporters and community as its positive message is inspiring, aspiring, and beautiful. Aggie is a film about someone with imagination, and art requires imagination.

Little Deaths is an engaging little thriller with a great ending. While there are a few scenes that don’t wholly work, Romeo and Leotta keep viewers engaged thanks to their performances. The stellar music stands out as well, as does the final sequence which is more moving than expected.

However homespun The Fabulous Filipino Brothers might feel or even appear, the film has a certain charm, which many will enjoy.

The conclusion is not completely earned by the end credits, but Minor Premise‘s aspirations are far greater than movies with much larger budgets and star power.

The amazing thing about Venus is that it's brutally honest about all this but at the same time funny as hell.

Scene after scene blends masterfully with the work of Ohwon’s paint brush, and the power of images and symbols reveal not only a great artist, but also a pivotal era in Korean history.

Lacôte’s second directorial feature, Night of the Kings, is an epically ambitious undertaking, roaring along on several parallel tracks, with a dizzying number of sub-stories to track. The world inside MACA prison is a complex, layered cultural and political system.

Unfortunately, this horror gem won't even receive the same fate as a crappy "Children of the Corn" sequel, that of ending up on the back shelf of the local Blockbuster. This all but guarantees, that some kid won't accidentally come upon it and scare the crap out of himself. And that's just sad.

The movie is fun, and hilarious, because of its child-like whimsy.

Economic struggle, crime, intimidation in a variety of forms, and, above all, the lack of affection and joie de vivre, are factors strongly influencing the course of the story. Hu Bo, who could have been a true artist of the cinema, put his spellbinding camerawork at the service of a brutal social exposition with plenty of anger and frustration. The effect is intimidating but very real.

See Scratch for the history, see Scratch for the music, see Scratch for a lesson in scratching, but, most of all, see it for the passion.

The spontaneous performances of the duo are half the battle for the success, but definitely, Ms. Israel is also influential and decisive as she merges both the comedy and drama genres with gracious artistry.

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

It’s all deeply unsettling, a glorious massacre you can’t look away from. Kill It and Leave This Town dares you to avert its gaze. You may not be able to describe it, but good luck forgetting it.

The result is stunning -- both as a narrative film and as a document of the place and time.

Patric and Liotta are as tense and great as they've ever been.

Rounding doesn’t offer answers, but it does offer a deep, unsettling dive into the fragility of the human mind and just how far someone can go when pushed to their limits.

Blade is just good, plain action movie fun. It runs like a smooth roller-coaster and has excellent replay value.

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

The funniest buddy movie ever and a generally daffy one at that. It features some of the most genuinely stupid and amusing tough guys in the history of cinema, and a tantalizing slow burn by Deniro.

Fabian: Going to the Dogs is poetic, ugly, romantic, tragic, and side-splitting. Some sequences approach the edge of sanity, take a glimpse into the abyss, then the plot reassembles itself – but the threat of derailing remains, and it’s quite exhilarating.

Sit back and get ready to melt into your chair.

To sum up Beavan’s message, he’s not saying you should give up toilet paper. But you should give up what you can. Help any way you can. Do all you can.

The acting and direction in Lonesome Soldier should appeal to a broad audience, not just those familiar with PTSD and military life and outcomes. In addition, the film is well-shot and scripted, and Jackson Harlow has great screen appeal in every version of himself, along with the film’s supporting cast.

It is Condon's adroit handling of the subject matter and the caliber of performances within that carry it above the norm.

In a perfect world, movies this clever would open in theaters every weekend. Maybe some day.

The only excuse you have not to see Crazy Rich Asians is because you hate love.

The actress playing Jade, Vicky Knight is a burn victim herself. It lends a realism to the movie that makes it by turns heartbreaking and inspiring.

The Truffle Hunters is about sustaining tradition in a world that seems to (d)evolve too fast. It's about mortality, but it's never morbid. It's about fungi, but it's never dull. It takes you away from the hustle and bustle of the contemporary, social-media-driven society and plunges you into the woodsy stillness of Northern Italy. You don't have to love truffles to crave a little bit of that beautiful solitude.

Directors Cristina Costantini and Kareem Tabsch have created a heartwarming testament to a man whose singular message was one of love and inclusion.

The film’s narrative arc demands attentiveness. It’s dense and talky, with a lot to absorb and almost no time to reflect. The deep meaning of the words blended with the pure, hyper-realistic filmmaking style of Ceylan, makes it a very rich experience.

An insightful character study, and an absolute must-watch for Saint-Laurent fans – or anyone with a remote interest in the fashion industry.

Fleck manages to mix the storylines which include drug abuse, political commentary and making good choices about your life's path flawlessly.

The film's effectiveness is bolstered by juxtaposed scenes of fat and happy Americans and Europeans slurping up frozen chai lattes and clucking about how big Starbuck's is getting with scenes of children going into "therapeutic feeding centers" in the region where Starbuck's gets its coffee because they can't afford to by corn.

Amy Adams delivers the knockout punch that will leave you floored by just how close it hits to home.

Tell No One is a French variation on "The Fugitive," but it's a more subtle, discreet animal.

About a Teacher is a lovely, impassioned, and undeniably human film that honors the teaching profession.

The Tomorrow Man is not one of these high-dramas with something profound to say about human natures. It’s more a chance to watch two veteran actors in John Lithgow and Blythe Danner do what they spent their entire lives doing, and that’s act and act real damn good. They find that right balance between being normal and quirky to turn out a grounded performance.

Disco Boy is not your average war drama, or sociopolitical study, or character dissection, or psychedelic trip. It’s all of those things, and Giacomo Abbruzzese wouldn’t have it any other way.

Tippett himself said he did not intend Mad God to adhere to any strict narrative structure, so it’s best to merely soak in the sumptuous, detailed visuals and extract your own meaning from the journey. It’s a ferociously engaging, if slightly flawed, viewing experience.

Director May El-Toukhy paints an engaging, uncompromising film in bold strokes, never looking away or shrinking from Anne’s boldness to act on her desires, or her willingness to remorselessly do whatever she must to restore the status quo of her life.