The movie stylishly portrays the story of the Chicago Seven with archival footage and animated sequences. Without reference to or retrospection from the present, Morgen crafts a film that is as pertinent as ever.

The Dark Hours is one of those rare gems out of Canada.

The final product more than overcomes its weaknesses.

Despite struggling with a thematic focus, the film presents a woman who is well worth getting to know.

What you find is this isn’t a political film about the self-destructive life of a conservative blowhard. It’s a family drama, set in the world of politics with a message of daring to change the conversation by listening to one another.

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.

Overall, the film is alternately sweet and sad, amusing and moving.

A sweetly engaging effort that manages a fair amount of charm and innocence in spite of the rather seedy surroundings.

The film has many great moments, but dare I say, it’s not melodramatic enough. To understand the magnitude of the miracle on ice, you had to live it, breathe it, and feel it.

Serves up heaping helpings of everything fans loved about the first.

Overall I would say that Travis Scott: Look Mom I Can Fly is an incredibly wholesome, feel-good film that shows us that hard work and determination really can bring you grand success in some cases.

A diverting and delightful visit with two unheralded indie cinema veterans with a surplus amount of anecdotes and zany film clips.

Non-Fiction is incredibly witty, fast-paced, and unmistakably French.

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.

The true star and the reason to watch Pig Hag is Anna Schlegel as Jodie. She puts it all out there—her anger, vulnerabilities, and sexuality are on full display.

For the more casual viewer who is craving a traditional tear-jerker, this drama more than fits the bill.

A worthwhile way to spend some of your precious leisure time, especially in this season of obnoxious cartoons and ham-handed holiday fare.

Do has created a tense, heartbreaking ode to a tragic time; a deeply personal story, superbly visualized.

It's a harsh lesson, but this movie is more than able to grab and hold your attention for it. I just wouldn't bring a date.

Director Juan Carlos Fresnadillo, who was essentially handpicked by now-executive producer Danny Boyle, gives us a more depressing look at humanity while retaining several of his predecessor’s moves. This isn’t always a good thing, since Fresnadillo can’t seem to get his fill of low-light hyper-edited fight scenes or frenetic hand-held shots of people running, but when used right it adds to the sense of claustrophobia and impending doom.

Chariot may not blow anyone away with its inventiveness, but it’s right at home in the family of darkly funny science fiction films that are enjoyable to watch late at night. Full of bizarre performances and a fair share of laughs, this is more than worth a look for those seeking an unorthodox treat.

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

The Call of the Wild is actually a good story and ultimately works as a movie.

While it's too smart to be shelved on the porn rack, "YPF" (a neutered acronym for Young People F**king, its original title) shoots Judd Apatow-styled raunch into previously uncharted stratospheres of frank sexual humor.

Fascinating and heartbreaking film.

Despite minor misgivings, it is a thoroughly engaging horror film with more on its mind than simply building to a climax. This is a poignant observation on aging and death that is supported by a trio of knockout performances and a female-heavy production.

At last, the hopeless romantics and the gorehounds can feast at the same table.

24 Hours on Craigslist is the ultimate people zoo.

Truly Madly Deeply is a truly, madly, deeply romantic film, and Stevenson and Rickman have a natural rapport. What distinguishes the film more than that is the uncommon intelligence with which Minghella approaches this fanciful situation.

Shinkai’s animated feature may sometimes seem like it was dreamt up by a 15-year-old teenager. It may move at a leisurely, awkward pace that threatens to come to a dead halt at points. Yet when it takes flight, it soars.

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.

We’ve seen it all before: the obsessive cop with emotional baggage, the small-town folk being interrogated, the lovey-dovey subplot, the tonal dreariness. The filmmaker isn’t aiming to avoid tropes, and what the film does, it does splendidly, though an injection of humor would have certainly been welcome.

It doesn't disappoint. It gets the job done thanks in large part to the breakout performance given by Galifianakis. It's no "Old School," but it will do nicely until that film's anticipated sequel rolls around in 2011.

It’s not going to change your life, but it has a solid story, and it’s sexy as hell.

There's just something maddeningly upbeat about this film's shameless hokiness. Combine that with the film's colorful art and wardrobe designs, spiffy choreography, the joy of seeing some veteran faces on screen for the first time in a while, and a soundtrack that'll make even the dead tap their toes, and Swing simply makes for some serious jump-jivin' fun.

In Mrs. Henderson Presents, Bob Hoskins lets it all hang out.

It’s charming in its own modest way (it ain’t Laika), but the simplistic character design is made up for with energy and creativity. Whether all the cadavers, complex inventions, existential musings, themes of progress and censorship, and politics will alienate the wee ones remains to be seen – but, again, at least it’s not pandering. The Inventor is charming and modest but also honest and true – a rarity these days. Hurry up and check it out before Gen Z cancels Leonardo for being a misogynist.

Pallenberg’s creaky slasher film is one that you’ll either love or hate, and while many will opt for the latter, it’s good campy fun with some of the dumbest scenes you can grab from a slasher of this decade.

T.I.M. is a satisfying look at the horrors of technology as it integrates with our everyday lives.

The exposition-heavy, cluttered finale, wherein the plethora of thematic elements collide and threaten to implode, almost undoes the painstakingly built-up sense of melancholy/paranoia. Yet it’s refreshing to see a wide release aspire to be something more than just another creature feature, slasher, or zombie gore-fest. Antlers has something to say. It should’ve just spoken less, and more eloquently.

Despite its plot-thick propensities, The Kindred remains a superior British thriller that unfolds with a deliberate, measured pace leading its audience through an engaging mystery with a deeply human core.

The Nowhere Inn deeply explores the dynamic between performer and audience and performer with self. It does so in a way I’ve never seen before. It has so many layers that at some point, you get lost in the thick of it, but in a good way.

A good movie, atmospheric and sometimes creepy. It grabs us with the premise and holds our attention and doesn’t let go, right up to the explosive climax.

The appeal of The Burial Society lays in its unusual and obscure take on an otherwise mundane tale of greed, treachery and double-cross.

Tel Aviv on Fire moves with purpose, even if it occasionally trips over its own ideas. It has a lot on its mind but doesn’t tackle all of them deeply, focusing on the satire and outlandish comedy. Thankfully, that’s where the movie succeeds the most.

The results are by turns fascinating, horrifying, and maddening.

Both Wu Ke-xi and Kai Ko were phenomenal in their performances and Midi Z has probably in Mandalay his best work so far.

Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.

Infinitum: Subject Unknown works as a scary, anxious thrill ride.

McGowan’s film isn’t just about following this boy’s private quest to accomplish the impossible. It is also about how he affects the other characters in the film.

It is leaps and bounds above the average boring status quo comedies, and it is exceptionally well-crafted.

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.

Red Right Hand fully delivers in the action realm.

Lanksy is a workman-like film with decent production values, but Rockaway is not Scorcese or Coppola. There are no great faults to find with it, except one: fans of the genre have literally seen every element of it before.

It should be memorable for fans of thrillers, especially for those of the home invasion variety.

A consistently provoking dark comedy that not only sheds light on our cynical society, but on mentally unstable people who find solace in children.

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

Hala is a breath of fresh air that reminds us that as long as we live authentically, with compassion and understanding, the world around us is far easier to deal with.

What We Leave Behind is about generations passing on their hard-earned wisdom. It offers an insider’s glimpse into our neighbor’s culture. Some may find its lack of emotional peaks – save for, perhaps, the ending – exasperating, while others may regard it as a well-edited and shot home movie. But look a little deeper. There’s real poetry here.

The Starling is trying to be a feel-good movie about finding hope in dark times. That’s admirable, but the main problem is that it does it in such a down-the-middle, straightforward way. As a result, there aren’t any surprises and at least a few missed opportunities. Still, Melissa McCarthy and Kevin Kline are worth the price of admission alone.

The filmmaker, doing a lot with an extremely limited cast and location, has a concrete vision and sticks with it, and whether you get it or not is up to you. A character in the film, when confronted, states: “Big question. Too long to answer.” That pretty much summarizes this cinematic endeavor.

In a case where the most dangerous are kept dangerously close, here we have a rarity: a suspenseful, yet dramatic Western.

Sublimely silly and genuinely sweet film.

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.

The Guilty manages to keep things interesting with a propulsive plot.

The directors’ reverence is clear, but they don’t shy away from giving a three-dimensional examination of their subject.

Hal is a loving tribute to a filmmaker who rarely gets the attention he deserves.

If you’re hunting for a fresh animated quest for the under-ten crowd, Tafiti: Across the Desert delivers a simple, sweet ride with Tafiti and Bristles proving that the best adventures come with an unexpected (yet familiar) partner.

Cannibal Mukbang is not for the faint-hearted, nor is it perfect. It is audacious, messy, and oddly romantic.

There is nothing wrong with grade-A prime aged Angus beef, but sometimes all you really want is a McDonald’s hamburger. “Major League” is the quarter pounder with cheese of baseball movies. There’s nothing original about it, all the characters are stolen from other books or movies, but it understands the longings of a starved baseball town, and manages to wring out plenty of laughs from familiar situations.

For Carmen, Tibby, Lena, and Bridget, their sisterhood shines even brighter the second time around.

Fans of A Christmas Story, and those simply in the mood for a holiday flick, will enjoy A Christmas Story Christmas for the light, nicely touching tale that it is in its own right, without the pressure of having to be as perfect as something as legendary as the leg lamp.

Somehow, we get a new Annabelle movie that develops its own personality and takes on the lore without rewriting or undoing anything that has already been shown in the other films.

Try as I might, I can’t quite shake nor stop thinking about The Giant, and that makes me believe Raboy’s done something very, very right, here – even if you might have to squint a bit to see it.

Lonergan announces himself as a talent to watch with Kill the Monsters. He’s just gaining momentum. If he tones down his embellishments and tightens his focus, he could very well reach the leagues of the greats that so clearly inspired him.

That all the events filmed actually took place make Stander a highly entertaining ride.

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.

He has the capacity to both enlighten and infuriate simultaneously, making it impossible to take our eyes away from the beautifully shot trainwreck before us. American Dharma is the height of that signature Errol Morris style.

make|SHIFT serves as a lively look into the ad landscape. It also is an inspirational account for young artists looking to enter the marketing/advertising industry.

This film could have been an excellent introduction to the world of Pokémon but alas it’s a squandered opportunity.

Let me set the record straight: Gaspar Noé is the real deal. Is he excessive? Yes. Manipulative? Sure. Pretentious? Absolutely. But, he’s also one of the most exciting filmmakers on the planet.

Insofar as low-budget horror goes, The Edge of Isolation is successful at exploring its subject matter without becoming to cheesy or hackneyed. The acting and writing are good, as well as the score and cinematography. I think Houkal, who is also a prolific actor, has a good career ahead of him as a filmmaker.

The performances are inspired.

As far as “summer movies” go, this one is a ride that’s worth taking, and will not leave you disappointed! It’s fun, and it’ll make you think, so what more can you really ask for?

Broken Lizard manages to poke fun at the genre without falling into the trap of recycling old Scooby-Doo jokes.

World Traveler did seem completely aimless for the first third. However, once I comprehended where Freundlich was going with this, I began to really enjoy where the film was taking me.

Michael Z. Wechsler’s The Red Robin delivers a quality mystery; a psychological thriller hidden within the trappings of familial drama.

Gran Torino is not a masterpiece. It’s a fun character drama that features a knowing but winning final performance by Clint Eastwood and just enough commentary to make it worth discussing.

Sobibor may not fully do justice to the Russians’ involvement in WWII, yet it certainly serves as a powerful reminder that the nation, so ostracized by the US these days, has plenty of heroes of its own. Hopefully, it makes enough of a dent Stateside to help the less-aware think outside the box.

While we do get a bit of gore, the movie is really about this wacky bunch of people jumping on each other's nerves, kind of a zany hero's journey.

Days of The Whale is a quiet, beautiful coming of age story.

In this era of fluffy, big-budget Hollywood "chick flicks", it's pretty refreshing to find a film that genuinely deals with women, family, self-image and survival.

Children of the Enemy will give nuance to your understanding of the Syrian conflict, radicalization, and issues revolving around resettlement and citizenship.

The cast is a high point for the film, elevating the narrative and adding extra personality to each character.

Clooney has finally made a GOOD movie.

The tender story addressing the oppression of domestic workers includes brilliant moments of humanity, making the film attractive to the average viewer, but this film would not have received such praise had it come from a lesser known director.