With Brian and Charles, Archer delivers a heartwarming and timeless film. The witty and clever screenplay efficiently sets up Brian’s quirky behavior in a touching and funny way.

A tight, taut mystery with incredible acting, this terrific film explores how our children use social networks. It has definitely opened my eyes to the possibilities of online sleuthing, and I highly recommend this film to anyone.

A sweet and fresh comedy that was a joy to watch.

Her beauty, independence, and stock portfolio notwithstanding, Chelsea’s tale is a timely, tragic one told with typical Soderbergh finesse, a sly, sleek merger of sex, lies and hi def video.

Put simply, Mind Game is a mind-blowing experience.

I love zombie movies. I love George Romero even more. It is easy to say that every movie he comes out with is an event for me, so it brings me great sadness to say that I felt let down by his latest effort, Diary of the Dead.

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.

Basically more of the same, and depending on who you are, that's either an encouraging statement or a warning.

Perhaps it is a shame that no one thought of digitally restoring and theatrically releasing the sex videos that Crane made with the many women he pleasured...that would have been far more entertaining than anything found in Auto Focus.

This drama is about a real war, actual people, and things that matter. While it probably won’t make a billion dollars at the box office, for my money, a true story well told in a heartfelt way is invaluable and important.

John Lithgow and Geoffrey Rush deliver us a mighty duel, as well as a masterclass in character acting in James Ashcroft’s The Rule of Jenny Pen.

While his previous drama, The Road to Mandalay, showcased his keen eye for social realism, Nina Wu is suffused with visual poetry – all stark-reds and grainy yellows – and a dream-like (or nightmarish, depending on how you view it) atmosphere. It’s a portrait of a country experiencing significant sociopolitical changes. By focusing on its filmmaking industry, Z takes advantage of the opportunity to experiment visually, thematically, and narratively – at times, to the film’s detriment.

You will laugh, cry, and be left breathless by Hedges’ heart-pounding adventure and intimate portrait of family love. This film will hurt and capture your heart in the best way. It is without a doubt an unmissable cinematic achievement.

There’s enough good and exciting to recommend Sexual Drive, but oh, the sweet-savory possibilities that were missed.

While the film boasts an all Chinese cast, the story, culturally, is pretty tame.

Wander Darkly is a hard watch that is worth it, as the movie will pull a few tears from your eyes at the end.

The Last Showgirl is a grand moment for Coppola, which she does well, especially with Anderson and Curtis, who are fully committed to their characters and well-studied for their roles.

The characters are compelling, but I would like to have known more about how Peter came to this place in his life.

A cautionary tale, a story of salvation, sad, lyrical, funny and even brutal at times, Bloody Marie is a shot of adrenaline in a landscape filled with cinematic clones. It may not be perfect, or for everyone, but it sure is spicy as hell, and it gets most of the ingredients just right.

What You Wish For is everything you could wish for in a well-lit plunge into the abyss. The script’s condemnation of the class system is much more potent than the overrated, sneering misfire The Menu.

Despite some fictionalization, it is a brutally honest take on the deep-rooted, orthodoxical ideals and their fatal outcomes.

Perhaps the key to understanding where Steamboy goes wrong is in understanding why Otomo's previous animated feature "Akira" was such a success.

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

Paul Solet’s Tread takes a little while to grab the audience; however, once the stakes are fully understood, it becomes quite intense. Plus, the way it plays with audience sympathy is genius, making for an involving watch.

While far from a straightforward documentary about a widely marginalized film, You Don’t Nomi reminds us that it’s okay to like things with rough edges, that streamlined perfection is overrated and, more than anything, it’s okay to deeply love something that most other people loathe.

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.

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.

It’s not a perfect film, but it’s definitely the Soder-side I prefer.

Joe Cornish has pulled off a fantastic feat- a children’s fantasy adventure that balances the drama, action, and humor perfectly and will keep an audience of any age entertained through its entire runtime.

Diggers isn't a bad film, but the underlying premise - the longing one feels to escape from a dead-end, small town life - has been so beaten to death in the movies that no amount of accurate 70s design or subtlety in the performances can hide the fact.

While this film offers plenty of laughs and a cool soundtrack, it also tiptoes around complex subjects of social change and inter-racial relations.

All squeamishness aside, this just isn’t a very pleasant film in general. There’s not a single sympathetic character in the bunch, except for maybe Hyun-nam and she’s a lazy bore. Everyone else is just plain, well, mean. For all the brilliance in some of its action scenes, this sluggish flick feels like a stretched out graduate thesis film.

When all is said and done and you get the full explanation of what meant what and who did what to whom, it's not fulfilling at all. It's a magic trick that's all showmanship and craft, but lacking true whimsy, ultimately failing the audience.

A loopy plot trail leads us to Ferrara’s attempt at creating a cult psycho. His lack of commitment to his creation, haphazard and impulsive as Reno’s first plunge into a victim, suggests that the filmmaker was distracted by his own future aspirations.

I Get Knocked Down is lively and fun. It examines one of the odder songs to become a phenomenon with humor and surprising profundity. Plus, afterwards, you’ll have one helluva song stuck in your head.

If there was ever a film that screamed Best Actress Oscar-bait, it’s Judy. But damn, Renée Zellweger is absolutely fantastic in this role, and absolutely deserves Best Actress honors. Yes, I know the year’s not over yet, but the bar is set high.

At the risk of being hyperbolic, Good Luck, Have Fun, Don’t Die is a great movie. It offers laughs, thrills, and it’s a thinker; you will not be disappointed.

Wonka is fluffy, loud, colorful, and goofy. King is not looking to expand on the literary legacy of Roald Dahl; it’s not that serious.

The Bogarin siblings use many methods of storytelling to tell us the tale of their family, creating an atmosphere in 306 Hollywood that is Errol Morris-meets-Wes Andersen. It’s a beautiful documentary filled with magical realism and most importantly the heart and soul of their grandmother.

A warm heart beats subliminally throughout the narrative, a tinge of hope that may be gasping for air but remains vibrant, especially when juxtaposed against the disheveled, rotten backdrop.

Elegy's last act is a mournful smorgasbord of bathos in which major and supporting characters alike drop like flies. The body count is practically Shakespearean. The same, regrettably, can't be said for Coixet's touch when it comes to tragedy.

Wise and respectful of its audience, "Cloudy" thus never stops the fun.

The film as a whole is vaguely entertaining but due to the unsympathetic nature of the lead character, it's hard to emotionally invest in the film beyond that feeling of watching yet another Jerry Springer-friendly family adventure. It’s simply unexceptional.

Hurt and Sewell are both quite believable as their respective characters, while Sutherland's performance is lacking in more than a few catagories.

Delivers on the action front, laughs, and some great visual splendor. The only real problem with this film is the running time.

In 30 years’ time it might seem as incisive a document of its time as, say, “Don’t Look Back” or “Gimme Shelter.” As a study of how the current corporate idiocy impacts one man’s art, it’s priceless.

Obviously the director has her point of view on the subject and the film is thusly slanted, but this bias, while good for the cause, may not be best suited for thorough documentary filmmaking.

Monotonous. For while it offers a few precious laughs, Talladega Nights simply apes the look and feel of most recent Ferrell movies.

Valeria Bertucelli and Ingrid Rubio as Elena and Natalia barely register for the camera, either in their adult incarnations or as the mod teens of 1975 Argentina.

A curious little film. On the surface, it's a story about one man's mission to create an Orthodox monastery in Denmark, and along the way it manages to say something about everyone's desire to be remembered after they pass away.

In the end, what we have with In Like Flynn is an homage to the action-adventure tales of old Hollywood, appealing to the fans of the adventure films of old.

This short but powerful film is extremely important in the MAGA era when all our civil rights victories as a nation are constantly in danger of being overturned. I also think it’s important for people to know that the true message of Christianity is love and acceptance, despite however many of the religion’s followers have twisted it to the contrary.

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.

Never has a film captured the spirit of being a teenager better.

Comedy, like most everything else, is subjective, and this may be the greatest example out there of "getting it" or not. If you thought the first movie, the original TV show, the Three Stooges, or "Football in the Groin," was funny, chances are “ackass: Number Two is right up your alley.

A brilliantly executed film that, like many real-life family reunions, is alternately painful, funny, and moving.

The blending of animation and live-action is incredible, the pacing is swift, and the cast gives it their all. When combined with the strange but excellent sense of humor and strong characters, the picture becomes a lovely surprise. Overall, Chip ‘n Dale: Rescue Rangers is a fast-paced, humorous, action-packed ride the whole family will get a kick out of.

he feature’s laid-back, lo-fi, semi-improvised approach and brevity ensure that it never lags. Although never quite reaching revelatory status, Leonard, a keen observer of the human condition, pieces together scenes that are bound to strike a resonant chord – especially with expecting couples.

Not too far below the gloss you can still feel director Denis Villeneuve's beating heart and the fondness he has for his characters. Because he does, you and I can too.

A magical vision of the ring of the imagination.

It is Fey’s refusal to talk down to her audience that elevates Mean Girls above most other teen movies out there.

Transamerica is a modern-day Sullivan's Travels.

Raw, irreverent and uncompromising, Cho transforms her life into a form of performance art like no other.

What ultimately comes through is an undeniably imaginative work that is a glorious testament to the limitless and largely untapped possibilities of cinema.

There’s just no nuance here. Good is good. Evil is evil.

Far from a disaster, but doesn't rank with Mann's best work.

This “horror” (used as loosely as possible) debut will only frighten people who get startled by their own shadows every day, as it’s just a slog into nothingness.

Boyega once again proves he’s one of today’s strongest young talents, giving us a glimpse of his mental afflictions without leaning into them as a dramatic crutch.

Splendid.

Master builds up to one of the most emotionally explosive horror finales I have seen in a while.

While elements of the film may be a little cliché, I found it highly relatable. It would be dishonest to say I didn’t enjoy myself.

Go see this movie. Take your pre-teen who’s going through an awkward phase to see it (if you let them watch stuff with bad language and underage drinking, I should say). Or if you were a kid who came of age in the actual mid 90’s, this will give you an aching nostalgia for your youth.

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.

Couple the brilliant construction with the intense performances from Saboia and Fasanaro, and we have one of the more memorable foreign romance films in recent memory.

The acting is flat-out wonderful.

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

Erotic, sensual, and nostalgic, Tommaso showcases the sweetest side of Hollywood’s enfant terrible. As far his collaborations with Dafoe go, this marks the creative peak of their symbiosis.

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

Rodriguez knows kids. No doubt kids will be clamoring to get acquainted with Spy Kids 2, the best sequel to emerge from a children’s franchise in the past several years.

With yet another snappy script and a fiendishly clever story, Mamet leads us through this labyrinthine film with skill and wit. It's nothing terribly original, but it is a lot of fun.

Another problem with the film is the pacing. The main story is interesting enough, but it just feels padded and stretched.

There’s nothing spectacular about any of this, but it’s heartfelt and well done.

If you’re not a fan of Will Ferrell, you ain't gonna like this film. But if you think he's funny and you don't mind a sappy ending, this is a decent holiday flick.

In surer hands, Shadow in the Cloud could have been a demented allegory about female empowerment; instead, it’s just demented, albeit damn entertaining. Here’s hoping Landis gets his head out of the clouds and writes something that casts lingering shadows next time.

Geared to please audiences of all tastes.

May not be much more than a story about girlfriends growing up, and it's not going to score any points for edginess, but it's entertaining in a low-key, non-threatening kind of way.

Young Ahmed may be described as a coming-of-age story, a searing character study, a visceral tale of redemption, a critique of extremism and the society that seems oblivious to and/or helpless against such evil.

Storywise, I’m good with the first two acts. It’s a new chapter in the series, and things have changed in the story. The world is evolving along with its primate inhabitants.

Spaz does not break any ground in terms of style and technique. However, the main subject is fascinating all on his own, and his story is equally as compelling. The good, the bad, and the ugly are presented here for everyone to consider and draw their own conclusions about Spaz’s work and temperament.

The important part about Becoming is not necessarily the facts you learn about Michelle Obama, but seeing her in action.

By the end of the 99 minute running time, there is a terrible sense of been-there/done-that. And for artists of the Quays' caliber, that is a huge mistake.

Elio is a complete misfire—an ambitious premise that never takes off.

The greatest accomplishment of Occupation: Dreamland is showing those of us on the home front that it really is possible, Republican howling to the contrary aside, to support our troops without supporting the war itself.

The film, directed by Harry Beaumont, is considered the first-ever musical, creating a template that is still followed nearly a century later.

Watching this movie is like sitting on your couch for two hours to catch a little network prime time: you may be mildly entertained, but damned if you’ll remember any of it five minutes later. On the plus side, you probably won’t care.

At least the studio hired enough likable scene-stealing actors and comedians to carry the bloated carcass of this film over the course of two hours.

A thought-provoking movie that is still relevant with the many environmental concerns that are out there now.

Record nerds be damned, The Public Image Is Rotten rises to the top of rock documentary filmmaking with a refreshing sense of candid storytelling only made possible by the genuine frankness of its subjects.