Hadaway indicts this country’s misguided preoccupation with being first, scrutinizing America’s twisted values via the prism of her uber-competitive protagonist. As a result, The Novice officially claims the title of The Best Film About Rowing Ever Made.

It’s a film my kids still enjoy, although it’s a bit lightweight as Miyazaki’s works go.

Believe the hype, Knocked Up is one of the funniest films of 2007. It's too early in the year to crown it the supreme funniest title, but save for something so funny your head explodes in the theater, I think it'll take the title by year's end. Seth Rogen, we web slackers salute you!

This isn't to say The Departed is a bad movie, far from it, but knowing who's directing it and the amount of talent he had to work with, it's hard not to be disappointed that Scorsese didn't knock us on our asses. Is it his best movie since "Goodfellas?" Sure, but it falls shy of that film's excellence.

Rich with wonderful music and images.

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

The atmosphere was the first treasure, Michael Ballhaus’s cinematography that makes Seattle as alive as the characters, as active as their desires.

Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.

This is where Payne shines. Schmidt’s Winnebago journey through America’s heartland is more like a personal voyage into his Heart of Darkness.

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.

Hero is not a CTHD clone; it’s a wonderful movie in its own right, staking its own territory as a dreamlike meditation on motivation and love.

The countryside visuals, emphasis on naturalism, and remarkable ensemble must make Alcarràs the most grounded and humane interpretation of a telling representing an entire culture and living.

It’s a film too real to be written. It was lived and continues to be lived in Alabama every day.

Neither the meals depicted nor the viewing experience should be rushed. Time is needed for the ingredients of the film to achieve a simmered state of perfection. Your patience will be rewarded.

At its core, the film is a possession romance, a story with a familiar structure of enticing evil that transcends the particulars of sexuality or subcultural framing. Full view here demonstrates, perhaps more clearly, that this is obsession, desire, and corruption in a world that some people can relate to as a newcomer in a new life and clubs scene.

This immaculate filmmaking creates an engaging documentary that makes you forget that you're missing the energy of a live show because it's a completely cinematic experience with its own special energy.

Hall has crafted a masterpiece of nostalgic filmmaking.

Through Wang’s intimate and gifted storytelling, and her filmmaking abilities, she offers a lens of understanding to the delicate nature of life and death, especially for the frontline men and women who were tackling this faceless and mysterious illness changing life as we know it.

As great as the script and cinematography are (they are both unassailable), the real magic of Unforgiven is in the performances.

One of the year's best films. It is an extraordinary triumph of nonfiction filmmaking, presenting a wild mind game that leaves the viewer invigorated by its sheer audacity and complexity.

The Dark Knight may not be a masterpiece, but it easily vaults to the top of any list of "best superhero movies."

Two Prosecutors does not offer the audience easy answers or an emotional release; this restraint is exactly what gives it power. It’s a heavy film, one that is important and deserves to be seen.

It’s in the mice and birds friendly toward Cinderella, and the two bluebirds struggling to pick up the water-filled sponge to carry to Cinderella and splash it over her. Disney films have lasted for years by those good-natured moments and the superlative animation which has given it life for all these years.

This is a documentary that is very difficult to stomach.

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

Apart from the two leads, there’s little warmth or humanity to be found here, the film purposefully cold and distancing, much easier to admire than to love. That said, there’s plenty to admire in this sad, contemplative journey into the heart of darkness.

This documentary is a great look into the personal lives of Chatwin and Herzog, and for that, it is worth seeing.

Imagine if the team that made "The English Patient" tried to make the same kind of movie, with even more brave-lads-fighting-the-Jerries porn and this time with Extra Added English country manor porn, and without really good actors, and this movie is what you’d have.

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.

The Fabelmans will take your expectations of the Spielberg brand and tie them to a rocket. It is engaging and compelling. I am still pondering it days later. If you love movies, you owe it to yourself to catch this on that same big screen that Sammy loves so much.

Fire Music is a comprehensive overview of the major players in this wild, unrelenting scene. Keep in mind, this is a 90-minute documentary, not a 20-hour Ken Burns epic, so it moves quickly. The point, however, is not to be the ultimate authority on the subject but to discuss the motivations and mindsets of the artists involved.

Joon-Ho's epic is a masterpiece of monster cinema that's intelligent, innovative, and reaches down to the basic core of family unity to propel its story beyond mere conventions of science fiction.

I wholeheartedly recommend this film as a glimpse into the effects of war on female soldiers, and also as an opportunity to see WWII from a perspective that isn’t American. It has some devastating scenes, which makes sense considering the subject matter, but it also has a faint glimpse of hope that makes the film all the more worth watching.

As successful as this family drama is, Demme proves himself to be quite a multitasker. With the skill of an ethnographer and the passion of a sentimentalist, he celebrates the traditions of marriage in a handful of tender set pieces.

Had that window been opened just a bit more, Z Channel would be a remarkable film. As is, it's thoughtful and arresting.

EO is an incredible film, but do be aware it does skew bitter, especially at the finale.

Absolutely perfect family entertainment for anyone over the age of ten. It is a celebration of not just the usual triumph of the human spirit, but a celebration of the human experience.

The movie enables viewers to witness firsthand how indigenous people are unable to keep their cultures. It also looks at how society has corrupted men and has forever changed ancestral traditions.

Two-and-a-half hours of family bickering, bantering, and pummeling can be draining for the viewer, particularly when many of the characters are easy to dislike.

The chief triumph here, it seems to me though, is one of style over substance. The disaffected kids who shuffle through its universe have nothing to say, nothing to tell us. I’m not sure the movie has a whole lot more.

Clooney has finally made a GOOD movie.

A surprisingly fresh take on familiar material.

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.

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.

The problem with the film, despite the genius of craftmanship and cinematography, is that the film doesn't really have anything new to say.

From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.

This is a very simple story, but it builds beautifully to an endearing and witty romance.

It’s a good film…a better version of the Coen Brother’s Hail Caesar! A film that kept popping up in my head.

Farewell My Concubine is a tragic and poignant story in every sense of the world. It’s a tough watch, dramatically, as there is darkness in this classic film.

Michael B. Jordan and Miles Caton deliver incredible performances in this soulful, bloody tale that masterfully marries blues, vampires, and the vibrant spirit of New Orleans.

It’s refreshing to see intelligent teens (Molly and Amy nonchalantly switch to conversing in Chinese at one point) in a film that doesn’t resort to easy, scatological humor for laughs. In a world mired by conflict and dark entertainment that mirrors it, Booksmart takes a somewhat radical approach by endorsing a bit of light-hearted anarchy.

Writing with Fire accomplishes what any good documentary should—it allows the viewer a visit a world that they might never even have known to exist.

It empowers Chinese citizens while also shining a light on the exploitation and oppression they face in the workplace and job market.

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

Yolande Moreau's most impressive costars are the extraordinary compositions of Seraphine Louis.

Stripped away off all privileges, a shell of a human remains, a carcass, and that glimmer of hope that keeps one going is the driving nucleus of the lyrical and timely To a Land Unknown.

A modern-day Apocalypse Now, a visual and aural trip that’s as abstract and surreal as it is stark and realistic, Sirat urges us to embrace each other, as the world swells and throbs around us.

While the audience has its laughs along the way, the violent tension of war often threatens to erupt, and slowly, subtly gathering force is the film's emotional weight, which is potently felt by the film's indelible (if not exactly unexpected) concluding image.

Not only the best I've ever seen, but also the Indian film that'd be most accessible to a Western audience.

Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.

Forman’s classic has not aged one bit. In fact, it’s become more relevant than ever, considering today’s tumultuous climate.

Beauty aside, Toy Story 4 captures the heart of the entire saga in its own way.

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

On the Record has so many beautiful instances of artful storytelling.

What starts as a standard marriage drama becomes infused with dread and building tension. It’s never easy to pinpoint the root cause, though it goes well beyond the usual verbal conflicts one sees in standard dramas. As the story progresses toward its tempestuous conclusion, one gets Bergman-esque vibes mixed with modern sensibilities. It’s truly a singular experience.

In My Room has a The Last Man on Earth and The Walking Dead feel (don’t expect zombies) and definitely has some surprises. Do all the surprises work? No. But most do and that works.

Kids will get a kick out of it (provided they’re old enough to read subtitles), and adults (parents, especially) will embrace the detail that goes into portraying the complexities of parenthood that are often glossed over by many.

As a movie, I thought Jon M. Chu did an incredible job bringing In The Heights to cinematic life. There’s nothing wrong with the actual production or cast. It’s all great, but my issue is with the source material, specifically the songs.

Dosa gives shape to the Kraffts’ relationship, not through traditional talking-head interviews, but rather by allowing audiences in on the couple’s subtle interactions with one another in their footage, allowing the story of their life together to be told predominantly by them.

Room at the Top remains a highly satisfying and beautifully conceived study of the human experience. It is one of the most important films in the history of British cinema and, mercifully, it is still one of the most remarkable dramatic productions of all time.

A superb exercise in economical filmmaking. Not only from a financial standpoint, as the film was shot in HD and on-location in gorgeous Portland, Oregon…but the story here is so subtle and well drawn, if you blink you might miss it.

The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it's also unbearably slow and hard to empathize with Mikey when we don't really know what his problem is.

What they produced is something that is true not just to this place or to these people's lives, or to the lives of poor people or black people, but to the experience of being human.

Speaking as a reviled straight male, I would say that the only true saving grace about this film is Penelope Cruz's performance.

The film is a brisk, engrossing narrative that weaves this story with engaging dialogue, incredible one-liners, and the kind of slow burn that any good neo-noir film should have. But what makes Widows so unbelievable is its trust in its players, the viewer’s intelligence and savviness, and a bevy of technical moments.

Mapantsula is timely and relevant 35 years later.

Tom Mercier’s performance is brilliant and engaging.

The thematic development is a clever move on the filmmaker’s part, though the plot’s revelation comes as a heavy blow, not swift enough for the film that frames it.

Matthau should get points for allowing himself to be filmed as such an unlikable cuss, and Vic Morrow, as usual, is just short of psychotic.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

A wholly entertaining film, both as a musical experience and in seeing a fairly relaxed Dave Chappelle doing some of what he does best.

The vision of life’s twilight years presented in the film is frank while still remaining expansive.

It’s a challenge that may ultimately be gratifying for the right audience — just make sure you have a comfy chair.

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.

Offers the Iraqis a rare chance to share their anger and their lives with the outside world. The resulting production is a raw and powerful film that demands to be seen.

Echoes Eastwood’s previous exploration of true-life violence, “Unforgiven,” by tracing how death and depravity stain one’s life for generations, leaving seeds to take root in each branch of a tainted family tree.

Look at Therapy Dogs as a cautionary tale, one bound to horrify unaware parents. Eng doesn’t seem to give a f**k whether you respond to it or not. Good for him.

At once an astonishing feat of advocacy filmmaking and a white knuckle eco-thriller; think Michael Moore meets Michael Mann.

As we toss around words such as "dark," "stylish," "brooding," and "tragic" along the road to perdition, I recommend a three and a half hour pit stop in 1950s Milan.