Audiences have grown so accustomed to nonstop thrills that the film does feel like a relic of sorts; they don’t make ’em like this anymore.

It’s artistic without being pretentious, thoughtful, and elegiac without treading into monotony, beautifully acted without drawing too much attention to its stars.

If they had gotten the music right, it could have stood by the original classic.

Part of what makes the film engaging is the carefully nuanced performances Panayotopoulou gets from her actors. In particular, Giorgos Karayannis.

It’s a fitting tribute to Walt Disney and Mickey Mouse and makes you long for a time when storytelling was someone just telling a story.

I enjoyed its surreal tinge and the thickening atmosphere. However, I came away a little disappointed with the wavering tone, wondering if it this might have horror blockbuster legs if it were a little more even. As it stands, this is a fantastically enigmatic horror film done beautifully well.

Kudos to Max for conjuring genuinely unsettling, Boschian images with a limited budget.

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 cast is perfect in every way, and each actor brings the right amount of silly and serious to their respective role. This might not be quite as good as Kaufman’s beloved property, nor as brilliant as the stage musical, which remains the definitive distillation of Toxie’s antics. Still, it is a damned fun time at the movies with enough nods and references to please even the most diehard of Troma purists.

Instead of being the science fiction masterpiece Matheson fans have been salivating for since the 80s (when Schwarzenegger was once attached), it’s just another average Hollywood popcorn flick.

Misses the boat by essentially acting as a positive press release for the now-defunct Kozmo.com.

The film is short on plot, and any form of character development, but I am sure the target audience of children will find plenty to enjoy even though most adults may find it a bit boring. All in all, Jimmy Neutron is a nice holiday diversion for the family.

While bearing many similarities to Shakespeare’s Midsummer Night’s Dream in look and theme, the film covers Maddin’s traditional themes of failed romance. While much brighter than his other films, if you like Maddin’s other works, you’ll probably dig this. If you don’t, this film will not convert you to the cause.

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

Kalki 2898 AD is the kind of widescreen majesty that makes the butter of your popcorn shine in the dark. There isn’t anything else like it in the movies right now, so jump right in.

As clever as the plot is, how it comes to life is something to behold — a command to witness awesome splendor is really the only word that fits here.

Despite the cast's capable portrayals, it's difficult to connect with or care about any of these characters as, one by one, each stabs another in the back.

A film that depends entirely on whether you feel empathy for its characters.

Girl On The Third Floor has enough carnage and bloodshed to satisfy all gorehounds. Director Travis Stevens gets terrific performances from an excellent cast, and the atmosphere is consistently foreboding.

Almost emblematic of the nonsense and insanity that pervades university campus life, Night Is Short, Walk On Girl is a fun and entertaining ride, though its dissatisfying conclusion and weak ability to transition between ideas may leave audiences feeling a little underwhelmed.

If you liked Children of Men, chances are you will enjoy this film. It has the same blend of despondency and lyricism, hope and despair, beauty and violence.

Yes, this "Harry" does indeed fly -- just don't expect the movie to soar into the higher altitudes of imagination.

The best thing about The Slaughter Rule -- is that the film refuses to succumb to the temptation of a glorious Hollywood feel-good happy ending.

An intelligently written, well-acted, and thoughtful film about adult relationships. I’m surprised it came out of Hollywood.

This is a truly disturbing work that makes the mind race with worry, and the heart pump with fear, though thankfully not in a way that tests a viewer's unease every minute. Gradually. Ever so gradually.

Director Billy McMillin does a great job showing the true stories of these teams, and from where I grew up, these stories are very relatable.

One of the best films of 2007 but I wonder if it’s difficult message will turn away filmgoers. Haggis has constructed a very bitter pill that needs to be swallowed, especially by hardcore pro-war Americans.

What Black Christmas retains is the competent pacing and pure chaos that’s dealt in whispers and brutality, and what it lacks is a younger audience who just can’t quite understand that some horror films require imagination, suspense, and no explanation to hold our hand with.

More a celebration of movement and music than a parable for our over-communicative, friend-lite, acquaintance-rich society.

It’s how Harry Chapin, the artist, and advocate described by so many and presented by Korn that makes Harry Chapin: When In Doubt, Do Something an important film. As a troubadour, Harry’s folk roots and his ability to visualize a story through his music—stories so many of us have lived and continued to do so—is personal and universal, all at the same time.

Jack Hawkins is convincing in the lead role, while Joan Collins does what she does best, playing a ruthless, self-obsessed queen with no redeeming qualities – but we can’t help but love her.

A lopsided effort which is part-thriller, part-social commentary, and totally forgettable.

Szabo could have made a conventional melodrama...The director takes an alternate route and offers his viewers a drama burnished with a coat of comedy.

Akin to a bus that provides temporary shelter from the cold, Drunk Bus is cozy and familiar, but 100 minutes proves to be just enough. I was ready to pull the cord towards the end of this fun, somewhat bumpy ride.

For the most part, Fleck doesn't seem particularly intrigued on finding the banjo’s African heritage – the film offers little in the way of historic value in understanding the origin of the instrument.

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.

Now the big question: Does this whole thing actually work? Some of the time.

With an incisive script that trifles with emotional and thematic transparency, Krippendorff authentically captures what it is like to grapple with one’s burgeoning maturity and identity.

Stephens knows how to get outstanding performances from all the actors. He creates a whimsical atmosphere in a scenario that could be unbearable heavy. This is probably one of the most fun movies I’ve seen that hangs its hat in a land of death. Yet, it celebrates life, which we all need a little bit more of, don’t you think?

First-time writer-director Serry shows a remarkable gift for storytelling with this moving, effective little film.

Just the Two of Us won’t win any points for originality (it seems that stories like this are the all the rage on streamers), but it works as a well-constructed drama that checks the boxes of what people watching it want — an intense tale of conflict with two hot people. In that regard, we can definitely count this as a success.

No hack job. It has more impact than your Rings, Grudges, Eyes, Dark Waters…out there and it does it with a minimum of actual on-screen scares. Finally, a real filmmaker gives it like it should be given...and it hurts so good.

An important, compelling story that had to be told.

This is a competently made film, with some wonderfully subdued camera work and very effective editing. 6ixtynin9 is a fun little film.

This masterpiece started out at around three stars, but after the credits, it just got sillier and more lurid.

Caught Stealing is a plodding meander that flagrantly overestimates its appeal.

A remarkable triumph of documentary filmmaking. It is impossible to walk away from this film without being jolted.

The acting is subdued, nothing over the top, but captures a realism not normally seen in the bigger-budget films.

I can't deny it: I had a shit-eating grin on my face for most of the ensuing two hours. I also can't deny that many of the criticisms about to be leveled at Spielberg and Lucas over "Kingdom of the Crystal Skull" are well-deserved, but it's still good to see Indiana Jones, and Marion, back in action one last time.

Anyone who likes gothic horror and science fiction will appreciate what Kelsey Egan and Emma Lungiswa De Wet offer. They create a beautiful and horrible world in which you cant help bet get lost. As I said before, it is my favorite film of the year so far, so if that carries any weight with you, seek this gem out.

Sure, it's lighthearted fare, but that doesn't make it any less of a good film.

Makes a good chick flick for guys who want to appear artsy by taking their date to a foreign language film. Just remember: front row...and don't forget the aspirin.

For me personally, It’s one film that can’t be redone for the simple fact, there isn’t a living director that can capture what made this movie work! If you’ve never seen this film, I can’t recommend it highly enough. It’s definitely in my TOP 5 of “All time greatest movies.”

Best of all, Robert Downey Jr., as Rick's seedy private eye provides a little comic relief at his own expense.

The human stories are at the center, but, for better or worse, they are surrounded with side stories that only acted as a (nice) distraction, and it never really digs deep into the concept of heresy itself.

There's a lot of talent in this offbeat drama about two odd balls from Down Under, but somehow all the pieces don't quite fit together.

A beautiful looking kinetic film that’s always in movement. It’s a bit slow at times and the plot has a tendency to meander, but other than that it’s hard to find fault.

Although a standard story of teacher and students overcoming their environment, Critical Thinking has enough thrills, excitement, and, most of all, hope to recommend.

I like that Bull is shot beautifully in a slice-of-life style of storytelling. ... It’s a subtle tale about the bonds of friendship in times of hopelessness.

At times, hard to stomach. Full of relatively good people doing horrible things to each other, the film never lets up, leaving me with a pessimistic and hopeless view of humanity.

At a time when our debt as individuals and as a nation is at an all-time high, Maxed Out offers a much needed look at this escalating dilemma.

Benedict Cumberbatch proves yet again he’s a star and Merab Ninidze is equally brilliant at his Russian counterpart.

Garland is a master at ratcheting tension to an almost unbearable degree, and he flexes that muscle hard in Men. The way he gradually presses the acceleration pedal, allowing the narrative to gather momentum until it almost implodes in its final third, is really quite remarkable.

In the final analysis, The Lego Movie 2: The Second Part is not as good as the first, but comes pretty damn close and is another example of a well-executed sequel. As cliched as it sounds, yes, this is a film for the kiddies, yet suitable for adults.

The Matador has that shiny sheen that quickly fades, yet is still fun while it lasts.

I was enthralled with Bardem’s performance, even in the subtle moments. This is important because The Good Boss focuses on him for almost the entirety of its one-hour and fifty-six-minute runtime. The rest of the cast is excellent as well.

Strives toward greatness, toward a complete understanding of life in the roiling, unsettled, complex locale they call Marseilles, and its partial success must be applauded.

A very scary film, well made and lovingly dark, and it illustrates how terrified we are of becoming the victims we see on TV.

This is an atmospheric and beautifully crafted horror film, with its brains firmly on the inside.

Peak Season is a well-written and engaging drama. The characters are likable and relatable. The three leads are perfect and play off each other wonderfully.

Ivan Kavanagh has an eye for style and a clear gift for building suspense. That said, the film is sadly less than the sum of its frequently-impressive parts. If nothing else, his messy, violent, dark and sad reflection of our society proves that the Western will never grow old.

Just isn't a very good movie. In fact it's kind of like living in the San Fernando Valley where it was filmed. It's big, kind of neat, has nice weather and has all the accouterments of a real city. But there's no "there" there.

Throughout, the film is an idiosyncratic mediation on a pesky emotion that can simultaneously bond us and tear us apart. And with Pink and his exquisite cast behind The Wheel, the audience is in great hands.

One cannot deny the historic importance of The Boys in the Band – for better or worse, this is the starting point of queer cinema. But, quite frankly, one wishes the genre had a more dignified and less bitchy way of launching – these are not the type of gay boys you want to take home to mother.

No Future is unassuming, truthful, and absorbing by virtue of the deeply sensitive performances from Charlie Heaton, who exercises rigid body language and a weary demeanor, and Catherine Keener, whose sadness and shock are softly expressed.

Air Doll is beautifully shot and performed.

Through the Fire is a fraud masquerading as a documentary.

Twisters delivers a thrilling, albeit scientifically loose, ride that taps into the nostalgic fun of classic disaster films. Daisy Edgar-Jones and Glen Powell bring solid performances, capturing the high-stakes action and adventure with flair.

On its own terms, the picture is at least as contrived as it is charming and its characters in many cases bear less resemblance to flesh and blood human beings than those in a Farrelly brothers farce.

May be formulaic but never fails to find other ways to entertain.

The Art Of Self Defense is set in a very peculiar world populated by eccentric characters. While that might turn some off, due to the vision of director Riley Stearns and his incredible production team, as well as a top-notch cast, the movie is as hilarious as it is unpredictable. It emerges as a strong early contender for best film of the year.

Thought provoking and brimming with charm, match that with an infectious sense of humor and outstanding performances.

Well-acted and skillfully made, the film offers enough that is worth seeing, but its idiosyncratic nature is sure to limit its mainstream appeal.

With two of the three engines effective, Twelve and Holding unfortunately breaks down by trying to wrap up its problems too neatly. In this vision of early adolescence, the script throws in solutions when the preteens are still feeling out their issues.