Gracefully directed by Fried Green Tomatoes and Justified director Jon Avnet, Three Christs is a great dark comedy about a dark subject. I can’t say enough how great the performances are. It’s a relevant character study on those who suffer from mental illness and the ones who treat it and why they do.

A very creative documentary that takes a seemingly dull topic and makes it entertaining.

It's the kind of movie you watch on a rainy Saturday night with a glass of wine and a fire crackling in the fireplace. It's a film that's meant to be contemplated, but not discussed. And it's all about what happens when you take the easy way out.

Bit of melodramatic grandstanding that it is -- is made irrelevant by Washington's volcanic energy and fierce conviction.

See You Then isn’t perfect, but it is sincere. Its aim is true, and the message of evolution, healing, and growth is sorely needed.

I like this film because of its nuances and hilarious banter and dialogue, which speak to the soul, not just what’s happening on screen.

The best boy’s adventure of the year.

Valkyrie just misses out on being a great film (it’s no Black Book), but it easily merits mention as a good one.

The film reveals a man whose wiry build, relentless passion, fearless guile, and bravery made him a beloved human rights activist in his strife-ridden country.

A beautifully told, deeply personal story ... for people who can dig the mumblecore.

The film is good and will appeal to fans of the genre, but doesn’t do enough to transcend it, which is what you hope when you watch dozens of Rom-Coms every year and when you want to broaden the appeal of your film altogether.

A bit more pragmatic, rambling, less lyrical, and not as laser-focused as Herzog's previous documentaries.

Some might perceive City of Men as a slow film, while others could reasonably argue that Morelli is taking more time to develop characters.

Flight Risk is a fun yet simple and straightforward thriller where you have a general sense of where things are headed at first, and then Gibson pulls in a surprise or two or three.

If you’ll forgive the silly first and second acts and dig into the main dish of Asian Persuasion, your patience will be rewarded.

Go with the somewhat far-fetched concept, get past the overt sentimentality, and you’ll find a true crowd-pleaser.

Angel of Mine is a good movie for fans of the dysfunctional family melodrama. Primarily from the performances from its leads and a strong story that holds together to the end. The thrills are thrilling but sadly never gets to Fatal Attraction level outcomes.

Although Penn is the focal point of Citizen Penn, the real citizens of this story are the Haitians. They are resilient, optimistic, and refuse to be labeled as victims. I do wish that we got to meet some of them a bit more intimately, that Hardy delved a little deeper into Haiti’s sociopolitical history. As it stands, it functions as a perfectly serviceable call to action, an extended, heartfelt PSA that neither glamorizes nor demonizes the actor.

Diallo’s dramatic horror film is rich with atmosphere and subtext and deserves recognition, despite its narrative shortcomings.

I'm not sure Sam Mendes' latest is a masterpiece as so many critics are exclaiming but it is very probably the most artful and earnest drama ever adapted from a comic book.

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

I recommend the film wholeheartedly to lovers of weirdo cinema, for people who don’t expect films to follow a strict format, and for those who love the art of writing for film. The screenplay by Emigholz is a behemoth that somehow doesn’t crash, although it seems like it could at any given moment.

The women both in front of and behind the camera work wonders in subverting genre expectations, but not in the hokey, pandering way that female-led blockbusters so often settle for.

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.

In the end, A Galaxy Far, Far Away shadows its parent films in that it's just good clean fun for the whole family.

The Eyes of Ghana leans heavily into the inspirational part of the story, and that’s understandable. Hesse is an inspiring figure, still fighting to preserve his country’s culture, restore film, and teach the younger generation, even in his 90s. But the film goes a little too hard on this point by adding soaring music and minimizing some of the complexity.

Manages to be impressively unsettling given the flaws in its foundation.

If you are a lover of art, especially abstract art, you must see Beyond The Visible – Hilma af Klint. You’ll be blown away by af Klint’s genius and how ahead of her time she really was.

It did a great job of giving chills and making me jump. It may not be the most original film out there, but which ones out there today are completely original anyways?

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

This is an archival footage documentary that is essential viewing for anyone who is curious about the Phillips’s legacy, the Houston Oilers, and Houston culture in general of the 1970s.

While I appreciate getting a cult classic a new coat of 4K to be mean for the stream in fine fashion, Caligula: The Ultimate Cut is not your grandpa’s Caligula.

Schwimmer impresses with this film.

Seahorse’s presentation, while intimate and well-pieced-together, comes off a bit flat, considering how truly lyrical and groundbreaking it could have been.

Horror movies usually aim to scare, entertain, and teach us. Amulet mostly does all three. Very nicely done.

An important, compelling story that had to be told.

Goodbye, Petrushka is a heartfelt narrative and very much writer/director Nicola Rose’s story. It’s not a perfect film, but it’s a very personal one.

Those seeking visceral thrills may be somewhat underwhelmed by Descendent, but the filmmaker firmly establishes himself as a descendant of the Benson/Moorhead cinematic lineage.

I thoroughly enjoyed the street level perspective of the world being destroyed, it just would've been nice if they hadn't crapped out at the end.

The narrative may prove a bit indeterminate and slow-moving to jaded audiences. Yet it remains an incisive and unusual little tale, which we could certainly use more of these days. That is something I personally think about all the time.

Hairspray isn’t all that bad, frankly. The songs are catchy, most of the leads are engaging enough (Blonksy and Bynes especially), and there’s just enough low-key subversiveness to keep everything from getting too saccharine.

Ashes in the Snow is a good, yet unsatisfying movie with the potential to have been so much better. The pace is too slow, and the characters’ arcs are predictable.

See the true story of Sister Helen and her band of weary men now.

Klondike plunges you into the midst of a nightmarish life, on the brink of utter and complete collapse, leaving you wrung and dry. Not a light weekend watch, then, nor a particularly original or subtle one – but artfully produced, deeply affecting cinema nevertheless.

Too often, the movie follows up Adams’ chaotic humor with weak slapstick and the incongruous love story.

As he proved with "The Bourne Identity," director Doug Liman can devise an enjoyable little action movie.

Overall, however, for a children's film, it hits all the major notes. Keep it musical, keep it lively, keep it cute and, you know, if you can, slip in a moral.

This film's twelve times better than anything else on offer at the moment.

A good-natured comedy that, while not always funny, remains as sincere as The Book of Mormon. No, really, that is a massive compliment.

Anya is a less than perfect film, but attempts to answer a few intriguing questions, making it worth watching.

Say what you will about Cactus Jack, but the fact that it’s extraordinarily unsettling cannot be denied. If you find yourself relating to any second of its purposefully hateful narrative, you may want to immediately call your local psychiatrist.

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

At least the 20 people who saw it with me -- found it hysterically funny. On the other hand, they all seemed pretty stoned.

Randy Rhoads: Reflections of a Guitar Icon is a fun and fascinating film for people like me who love rock.

In Monuments, the comedy outweighs the drama, for better and worse. For better because Sullivan is an engaging comedic presence, at once gawky, twitterpated, and restless. For worse, because the ending does not have nearly as much emotional effect as it probably should.

Awfully funny, with surprisingly potent social commentary just underneath the quirkiness.

Perhaps Simmons is the man Apatow fears he will become. If so, with Sandler's help the filmmaker's fashioned a solid work of self reflection. There's plenty to love and laugh along with here.

Midwives partially plays like a feature film, especially in its second half, when it takes a more contemplative approach with emotional “slice of life sequences” and moves swiftly across years with touches of humour.

Kempff walks the fine line of being frustratingly vague and trusting the audience to grasp the film fully. Knocking, for the most part, lands in the latter category.

The performances in the film are soul-saving.

Breach is a look at the insecurities and flaws we all carry, it just happens to be embedded in the story of the worst traitor in FBI history.

Babenco’s cinematic farewell isn’t perfect by a long shot. But it’s brave and poetic when it comes to facing mortality and rediscovering life. It is also most eloquent in referring to cinema as one’s lifeline with a wistful view of humanity, of those friends who stick around and those who don’t.

The Wrestler could have been a groundbreaking drama, one that upturns the sensational genre roots from which it stems. With Rourke in such form, it could have been character-driven to the core – if only Aronofsky trusted his character enough to resist screenwriter Siegel's contrived plot thrusts.

I'm a sucker for so-called "mockumentaries." They're charming, usually outlandish, and you never have to worry if anyone is getting exploited. NBT is no exception.

Jockey is a solid piece of work that reflects on who we are and what we leave behind, as well as the prices we pay to get there.

While it is a glossy crowd pleaser, it still has a few typically off the wall, classic Miike touches.

It is exciting… enough and is carried by the fun cast and design work.

On the grand scare scale of Asian horror, with The Ring and The Grudge as its standard-bearers, Room 203 is on the lighter side of horror.

Cech is the heart of the film and coupled with her chemistry with Perlman, Marvelous and the Black Hole emerges as a sweet coming of age tale, worthy of experiencing, even if you feel like you’ve seen it all before.

August so firmly establishes characters of Martin and Barbara and their relationship, so when the disease does enter the picture, the film does not suddenly become about that; the focus clearly remains on the effect it takes on the people.

It does get a little sappy without a hint of darkness at all. By the end, every plotline is wrapped up nicely with a pretty bow.

The Cincinnati Kid is one of the definitions of what made Steve McQueen who he was. Through the roles he chose, he fit snugly in them, using his calm wits and all else of him to turn himself into the ultimately cool actor.

The finale of Emily the Criminal does not match the pulse-pounding scenes of her earlier assignments. However, it still manages to work toward a satisfying, logical conclusion while offering a solid critique of the gig economy many Americans face in which fortune is merely a credit card swipe away.

Amazingly realistic and engaging drama about society punctuated with both humor and grittiness.

We Are Living Things unravels gradually, methodically. It could’ve used a bit more tension and slightly higher stakes, for the silences in-between its words aren’t as weighty as the filmmakers seem to have intended. Yet it’s refreshing to see a love story rooted in reality, despite the sci-fi undertones.

Burgundy and Carell's Brick Tamland, by himself, would be worth the price of admission.

One of the most shocking Japanese horror films ever. It needs to be seen to be believed, but those with queasy stomachs would do well to stay away.

Once again, the Coens' tale of the damned is damn funny.

As a documentary, Persons of Interest could've benefited from further elaboration of the actual policies put in place, but as is it's still a disturbing, matter-of-fact look at the consequences of letting fear engineer such policy.

Fast X is an entertainer. You need to leave the brains out and have fun.

It’s an old-fashioned escapade with a helplessly likable hero—a criminal who can’t help but be better at the former than the latter, despite his best efforts.

The Shepherdess and the Seven Songs contains many such moments of scintillating, mysterious splendor yet doesn’t entirely fulfill its lofty ambitions.

Islands is as effective, familiar, and quiet as a microwave.

Overall, it’s a worthwhile journey.

For any music collector, aficionado or fan of rock and roll, this is absolutely essential viewing. For everyone else, just walk in knowing it’s a sugarcoated version of events with some unnecessary elements thrown in for some reason.

Perry creates an objective yet not overly dry character study of the man, now a fugitive living in Japan, as he recalls his days in power.

A pleasant diversion which mixes snatches of Wilde's waspish humor with a stylish Art Deco environment. The result is amusing to the ears and easy on the eyes.

Delgado’s script is keenly aware of the world she is sharing. With the utmost humanity, each frame conveys the lives of those living in limbo, working for the mere hope of something better.

Thanks to a committed cast and an amusing screenplay that works more often than not. Reality Queen! proves to be a charming affair. Mix in the surprising amount of depth mined from the brilliant ending, and despite its issues, this mockumentary proves worth a watch.

It’s a thoroughly intense and mostly entertaining movie.

It is a thorough examination of over a decade of conflict and strife, packaged into a feature film, which is no small feat. But its failure to focus on the FBI investigation and muddying its portrayal of King hurts the overall production.

It may not be a perfect confection, but this cake’s got layers.

The true power of the film comes from young Marko Kovacevic, who plays the poetic child lost in a family and culture where poetry has no meaning.

Seeing stories about politicians like this that are so strongly passionate and enduring uplifts our feelings of dread towards politics. If only more politicians followed her example, perhaps we wouldn’t be in the current state we are in today.

It’s a ballet of personalities, where the efforts of those attempting to be the most domineering end up directly leading to the sharpest and most tragic of downfalls. But there isn’t any righteousness or catharsis in these descents — everyone is a mangled menagerie of pieces, and they’re all just trying to get themselves through life.

While the documentary doesn’t have headlines or columns, it does have gorgeous establishing shots, great music, and fantastic narration, all of which blend together, allowing Beth Levison and Jerry Risius to tell the true tale of Storm Lake, Iowa.

While the film isn’t completely perfect, director and cinematographer Shona Auerbach shows that she’s a great new filmmaking talent.

Ultimately affirming Feels Good Man is a fun, feel-good doc.