Wright provides a film of hope and faith with extreme, challenging, and harsh realities and presents them with flawless character and a connection to nature and its healing properties.

A fresh and rewarding take on cinematic terror.

This raw truth, this emotional nakedness, is deeply refreshing.

Beneath its morbid exterior, Sunshine Cleaning projects a tender portrait of how people help out others and seek a better life for themselves.

Remembering Gene Wilder is a beautiful, affectionate, albeit brief, biography of an actor who was adored by all.

Quirky, entertaining documentary.

Just like “It’s A Wonderful Life” is shown on TV every year, The Polar Express should appear in IMAX theaters that traditionally.

While the episodic script feels fragmented, Macy’s consistency unifies Edmond’s journey.

Levinson doesn’t seem to care about redemption, guilt, or any of that other nonsense. He wants to make “the great American baseball hero movie.” He wants to say something about old neighborhoods and fathers and sons playing catch in the late summer evening. The cinematography is lush, the Randy Newman score is epic. The period detail and baseball scenes are top notch.

If you have ever experienced the crushing effect of young love, you owe it to yourself to check out this gem of a dark comedy.

Enter Horse Girl with an open mind and enjoy the ride.

With this cast, the film should have been a knockout. Instead, it feels bogged down, heavy, and way too concerned with making statements instead of just being entertaining.

Funny Face is a rare gem of a film that will keep you guessing from beginning to end, and you’ll be lucky if you get to see it.

Super Size Me 2: Holy Chicken is not only informative in the same way Super Size Me was, but his story about opening a fast-food restaurant and the journey he took to get there is entertaining and telling.

Woo and Benson don’t underestimate their young audience’s intelligence, subtly layering in complexity, which comes off as a mini-miracle.

The increasingly creepy plot is counter balanced by a genuinely tender romance, which makes the film impossible to categorise, and will no doubt limit it to obscure arthouses and cinephiles who have very strong stomachs. They won't be disappointed.

The great thing about this documentary, other than seeing some very provocative dancing, is that it goes beyond the superficial and talks about the socioeconomic situations that most black people in America face.

Who thought that New Kids On the Block would turn out to be the most influential group of the ’90s? Anyone who was paying attention to history, of course. That’s why The Idolmaker is so fascinating. Based on the guy who gave us Fabian and Frankie, it understands the inevitable pattern that repeats itself time and time again.

Song Sung Blue is one of my favorite movies of the year. It all has to do with Hugh Jackman and Kate Hudson’s performances, along with a touching script by Craig Brewer and Greg Kohs. What makes this story so compelling is not only that it is true, but also that Mike Sardina and Claire Stengl are us. They are normal people who want to perform and bring happiness to the world.

Before You Know It comes off as pharmaceutical-grade Hallmark Channel, which means that Utt and Tullock take the same familiar elements and end up finding some absolutely hilarious scenes that remind us why we love the movies, to begin with, just not consistently.

Ultimately, it’s fine. Yet, considering its cinematic history, fine is never good enough.

It looks like Williamson threw five old scripts in the air and Rodriguez shot the first 90 pages he picked up. I'd like a little more meat on my burger because all I can taste is the cheese.

The film tells an engaging swashbuckler on its own terms, and that's what director Kevin Reynolds has done with this old-fashioned romp of revenge.

Willard doesn’t try to be great art (although if you really think about it, there are plenty of themes borrowed from “Hamlet,” “The Birds” and “Frankenstein” to name a few). Willard just is.

Botko and Gurland's bleak and caustic comedy gets off to a slow start and struggles to overcome the handicap of having three main characters who are, by design, highly unpleasant individuals.

The Universal Theory works in fits and starts but is bound to leave the audience not entirely convinced by its logic.

Has some nice touches. Cheadle is capable as always, and Paula Newsome kills as his acerbic receptionist.

Despite all the flaws, Sputnik has one chief thing going for it: it holds your attention, from the first (and arguably best) twenty minutes, to the last (and arguably worst) twenty.

LX 2048 has some very funny moments of black comedy thrown in, especially in the latter half, which throws off the nihilistic tone that the movie has held up until then. However, some truly thought-provoking concepts, interesting production design, and a knockout performance from James D’Arcy make LX 2048 well worth a look.

With Babylon, Chazelle laments and condemns; he documents and romanticizes. There’s truth beneath the embellishments. The filmmaker gives this project his all. Luckily, it all works. Bravo.

Skincare is the perfect vehicle for Banks’s style, the cinematic equivalent of a Barbie-mobile with 60s Cadillac fins. The audience gets to ride shotgun as she speeds through the flashy, splashy visuals to get to the long tunnels of persecution.

While The Bluff isn’t perfect, it is fun, and Priyanka Chopra Jonas excels at the action, so for an entertaining streaming option, this will do nicely.

It’s thoroughly engrossing, entertaining, and a lot of fun from beginning to end.

The stunts are great but they make sense and don't blow the sense of reality of the whole movie.

What began as an interesting character study ends in convention, offering only the most clichéd platitudes in summation. You can't find true love until you love yourself? Hasn't Dr. Phil been telling us that for years?

When Romper is firing on all cylinders, it is potent indeed.

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.

This is the work of professionals acknowledging a good story and knowing better than to get in the way.

A meandering and disappointing documentary about one of Africa's most beloved yet elusive musical giants.

For those who appreciate uplifting stories with spiritual undertones, it delivers exactly what’s expected—and sometimes, God’s blessing is enough.

Two Women showcases the rampaging wit of expert writing with the jaw-dropping technique of expert directing.

Call Her Ganda is not a bad documentary, but it is one with entirely too much to say in one 93 minute piece. Brevity is the soul of wit, but in this case, focus would be the soul of the debate.

Sean Penn's scenes are still so stunning...His Jeff Spicoli is an unabashed kick every second he is on the screen.

Frida favors us with plenty of color, a feast of eye candy. As food for the soul, however...there are always her paintings.

Particularly wrenching in its depiction of the father-son relationship.

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.

The video footage is demented, hysterically funny, and supremely dark. In presenting Carson’s antics and dissecting his style as a presenter, A Life on the Farm provides a horror-tinged giggle fest.

This film poignantly captures the hurt feelings of the women subjected to this man’s perversion. It is a sobering experience. Seek it out if you’re intrigued.

The sequel is a shout-out to horror movies of the past.

With A+ voice talent provided by Meg Ryan (Anastasia) and John Cusack (Dimitri), Fox has a winner on its hands.

A tedious, snail-paced mess.

Captures the building of the freeway as well as the lives of the people working on it. The problem is, the lives of the people aren't all that interesting and the freeway being built isn't either.

Charles Dance's début feature is an impressive achievement.

Let’s not lose sight of what's really been accomplished here. Alex and Marty – just like Batman and Robin, Fred and Barney, and Snagglepuss – are welcome additions to the gay animation pantheon.

Sisto certainly has an eye for the story he’s trying to tell, and there are moments throughout John and the Hole, which show he has what it takes to be an interesting filmmaker. [But his] visual flair would have been better served with a stronger story.

The White Crow demonstrates that, if perhaps not having yet mastered all of the nuances of directing an artful biopic, Fiennes possesses a keen eye for detail – and the man just can’t help but exude sophistication.

Vice, written and directed by Adam McKay, plays straight to the cable-news generation of political enthusiasts. It’s depthless, has the attention span of a gopher, and is more concerned with appearances than getting to the root of anything.

This is John Hughes' best teen film, and it's a call to arms to everyone in the world who doesn't want to follow society's lame-ass rules at the expense of living a cool life.

As They Made Us shines because of its cast.

What ultimately keeps The Weather Man from being a better film than it is that it doesn't no when to quit.

While Dead for a Dollar may not make one toss out their copy of The Searchers, it’s still a refreshing change of pace seeing three excellent actors in an uncommon genre. When it comes to its originality, though, we’re left watching the tumbleweeds float on by.

Liesl Tommy extracts the proper emotion from every scene, and the music is like truffles on top of a fantastic meal.

I'm sure that an interesting film could easily be made about girl surfers, this just ain't it.

There's a natural authenticity to the film that makes it intensely watchable, even though it's repetitive and slightly underwritten.

In short, this is an x-treme documentary, as riveting as a road accident and a lot more bloody. That this film might give other young people ideas is something that keeps me (and probably director Hough) awake at night.

Rife with predictability and lacking any originality whatsoever, the lackluster Laurel Canyon demonstrates about as much depth as one of Ian's pop songs.

He's preaching a story we must all hear. This is no fairy tale.

Speer Goes to Hollywood is essential viewing for those who want a deeper understanding of the horrors Nazis committed and the still lingering aftermath.

With A Taste of Hunger, it is clear that Boe loves food. The film celebrates the culinary arts, as the cinematography lovingly displays exquisite dishes that please the eye as much as the taste buds. He studies how light and sound may affect taste. His approach to gastronomy is as meticulous as the dishes his protagonist prepares.

One of the most interesting and two-sided films to be made about the Israeli-Palestinian conflict.

You expect excellence from Pixar, and excellence is what they deliver in Onward.

There is genuinely fantastic chemistry between the new lovers.

Easily the most disappointing movie of the summer, Extract is more significantly the biggest letdown of its esteemed creator’s career.

If "Models'" comedy is a bore, the characters' redemption is sheer agony – not to mention the shameless pop-cultural referencing that repeats like a bad taco.

This version of Hamlet is raw in its emotion, incredibly natural in its performances, and heartbreaking in its conclusion. Even after centuries of retellings, the story still cuts deep, and Aneil Karia’s version proves that its power has not diminished. At the center of it all is Riz Ahmed, whose incredibly raw performance ensures this adaptation will be remembered.

Can be fun. Just don’t think about it too hard.

While Buffaloed is light on laughs, it’s Deutch as Peg that is the real joy to watch. She creates a character that is unique, energetic, and thoughtfully developed.

The Oak Room is a movie that purports to be seen as a dark and twisty backwoods noir but takes so much time getting to where it actually wants to go that by the time the story winds itself up, we’ve lost interest.

Camera style aside, the subject matter of Sagawa’s atrocious crimes are pretty fascinating. But it’s the pace and moments of complete dead silence that kills (no pun intended) the tension you would think would be obvious when making a documentary about a living cannibal.

In the end, don't go see this if you are looking for an intellectual film. If you're into seeing some fun, mindless action in a faithful Marvel comic adaptation for a couple hours, then go see the Hulk smash some stuff.

Every line of dialog, every camera angle, every beat is precisely engineered.

Nuremberg is a competently made, overlong, corny, entertaining, poignant epic made by the filmmaker responsible for writing classics like Zodiac and duds like Independence Day: Resurgence — a jumble of the man’s best and worst tendencies. Scattershot? Yes. Way too long? Sure. Predictable? Yes. Cheesy? Yes. Did I secretly kinda love it? No comment, your honor.

It's pretty basic here. You have a Bill Plympton movie. You know what to expect – complete rampant insanity from the mind of a mad genius.

If you like unconventional indie comedies, this one can’t be missed.

Godzilla, King of the Monsters! is the story that began it all, laying the themes of Japanese kaiju that would endure for decades.

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.

If you want to see the shark device used with the precision of a scalpel, watch Beast of War. It is knock-out entertainment with many rows of teeth that won’t let go.

Every so often you catch glimpses of a better movie behind the simplistic structure and formulaic plot.

If you persevere, Stargirl will grow on you and ultimately pays off.

Blue Beetle is worth seeing, but it has many missed opportunities.

The Persian Version is a comedic and beautiful portrait of a Muslim immigrant family caught between the struggles of two cultures and two generations, featuring two outstanding performances that should not be missed.

Playing like a video coffee table book displaying some of the man’s most notorious work.

Depending on your expectations for Transformers, rear-ending theaters this July 4th, you’ll either be ecstatic or horrified to learn that the movie hits on all three cylinders in convincing fashion.

Wil Wheaton is the true star of this film. His creepy therapist/creepy children’s TV show host take on his character was exactly what Rent-A-Pal needed.

In the end, you’re entertained, but not so invested in the characters that you’re hooked to every word. It’s enjoyable, but not memorable, and certainly, nothing that lingers in the mind or makes you want to gush to your coworkers the next day.

When You Finish Saving the World offers unique insight into family dynamics in a modern society where the shallowness of a virtual world collides with real-life based on purpose and reason.

If Dogville has a reason for importance, it is the astonishing all-star ensemble who try very hard to put life into their cardboard characters and make this silly film work.

Radio Silence needed to make Scream their own, and they did it in a blaze of blood and guts glory.