Writer/director, Kaveh Nabatian, is an excellent storyteller. It’s very easy to get wrapped up in the beautiful musical world of dance, love, and heartache that is Sin La Habana. It’s a world definitely worth exploring.

The Vandevere plot effectively turns the film from a cute animated story of talking animals into a thriller with corporate intrigue.

Slight but likable, Changeland deals with moving on and the healing powers of travel and friendship. Forgetting Sarah Marshall’s low-budget cousin, it’ll hopefully finally establish Green as more than just the “Zip It!” guy.

Even though you can see the strings in the puppet act, the plight of the characters still sometimes manages to get to you.

We aren't talking Oscar here. We're talking truly fine performances and an unexpectedly hep John Williams score. We are talking a story that rollicks with the most rollicking of them. Not great cinema; just a great time at the movies and certainly a film well worth catching if you can.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

Loving Highsmith is about loving Highsmith and all that implies. As such, it gets the job done perfectly.

Jackson gives an amazing, nuanced performance as he teeters on the edge of paranoia. Spacey gives a great, toned-down show as I guy who's in over his head trying to find out what the hell is going on.

One of those films where, even though you're pretty sure you know where it's going, it's still fun to get there.

With measured visual flash, Luhrmann highlights the delightful presence of his two stars and realizes an unlikely feelgood film, in spite of its grave matters.

The Departure is an entertaining film on the strength of the performances. If you enjoy “TMZ” style drama, you’ll need to watch until the end… despite the boys not behaving like men.

Everything is shown through an unfiltered lens of how some of the world lives, grit and all. It doesn’t preach one way or another, but rather shows a genuine human connection that, once formed, cannot easily be broken.

A fine cast, understated treatment and tantalizing premise make for a movie well worth seeing even if you don't come away believing.

Encircles the viewer in a comforting, open-hearted humanism. It’s a quiet, modest piece of work, but no less lovely for it.

Has the intangible and distinctive feel of a movie from a different era. Which just adds to this fine film's mystique, providing yet another reason why The Cooler hits the jackpot.

I found the film to be a sweet experience and a marked change of pace from standard cinematic fare these days. Truly, it’s independent film where you find the titles worth championing. Seek this out if you need a film that will serve as a warm hug.

Even if it wasn't exactly historically accurate (the film is only "inspired by true events," after all), innocents are killed in the crossfire all the time when these kinds of missions are undertaken, and it's a cop-out for Spielberg to pretend otherwise.

The movie is well-written by Garrel, Carriere, and Langmann. Cinematographer Renato Berta makes the atmosphere in all of its beautiful simplicity. The acting is fantastic.

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.

Despite the seriousness of the subject, the movie is sweet and charming; it knows that audiences hate to be preached to and instead shows us--as it shows a Anna--why we should care about being humane.

Once attuned, you’ll be rewarded with a sharply funny and oddly heartbreaking, albeit clumsily structured, indictment of our government... Armstrong’s razor-sharp trademark one-liners go a long way in saving this Day.

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.

Jirga is not going for subtlety. Its heavy-handed message about guilt, responsibility, and forgiveness is outright stated to the audience. It’s very idealistic, and you might not buy it. But you will remember the experience of having your eyes opened to a new part of the world.

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

Nomadland is a wonderful exploratory mission into real American life.

Thrasher Road is a fantastic story of family and forgiveness.

Preposterous but entertaining, Jurassic World: Dominion not only finds new ways to inspire the awe and wonder sorely lacking from previous installments, but it also recaptures some of that Spielberg magic.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.

Doesn’t always hit all the right notes...But in the end, Affleck displays a surprisingly sure hand, and Gone Baby Gone largely delivers.

In the end, Raise Hell is the true celebration of the Texas spirit or rather, America on steroids as one commentator words it.

With a combination of talent and a child’s excitement and outrage for music, Green has a personality to rival Jack Black’s fictional rocker-turned-teacher from "School of Rock."

As far as its storytelling, it’s good but rarely rises to the level of inspiring. Fans of Tolkien are going to find a nice, comfortable place in this film, but walk away feeling like they could have dug deeper into this life.

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.

Rogerson has crafted an emotionally satisfying exploration of the creative process through people who, before the program started, weren't comfortable with expressing themselves at all.

The theme behind Fearless is utterly simplistic, but universal: violence begets violence. It's a never ending cycle that becomes more and more vicious, until someone decides to stop it. It's a worthy final installment.

As effortless as Clooney and Pitt’s screen charisma is, one can’t help but wish for a more polished scenario to complement it.

Known for her luscious and exquisite cinematography, Cvetko presents a captivating and well-acted story with great style for a film about contemporary love and life awakening, which includes LA anti-establishment undertones and unfocused careers. The breakout performances of Rambaldi, Neyssan Falahi, and Mattia Minasi are noteworthy as the trio flows and carries one another through the end.

A Sloth Story delivers a message with warmth, charm, and just enough energy for its younger audiences. The film’s heart is in the right place, balancing a gentle cultural exploration with the universal challenge of growing up and finding one’s own way.

The problem with the film is although we walk away from the theater with a good feeling inside, the film lacks an edge…particularly a dark one. Everyone in the movie is good, wholesome people. No one’s really the villain. Bernadette’s problem is not all that surprising.

Do not, under any circumstance, approach this film lightly. Prepare to be depressed, agitated and shocked. And prepare to see a brilliant work of cinematic art.

It's good then that From Other Worlds doesn't strive for masses of people either looking at the alien spaceships before their demises or working to understand the communications being sent to them. Sometimes it's enough to just have two people there to meet them. Two people are enough for the entire world and that's what makes this a novel experience.

Everyone loves a good underdog story, and Bank of Dave fits that mold, despite needing to be tighter.

How to Please a Woman is not the usual romantic comedy that everyone expects to see these days. It is trying to connect with a specific audience, and I think it is successful in doing so.

You aren't likely to see a film with more warmth and good humor anytime soon or one that does more to give feel good filmmaking a good name.

The picture is a wonderful example of social horror, fear of strangers who are not what they seem, worth a look for the production values well used, and the committed actors.

Though it has a tendency to leave characters undeveloped and storylines empty, the overall portrait is significant.

The movie is a heart-on-the-sleeve, old-fashioned action-adventure thriller. This Balloon may not exactly soar, but it’ll give you a satisfyingly stirring ride.

Whether one disagrees or agrees with Seyran Ateş: Sex, Revolution and Islam, the courage on display is undeniable.

Ultimately a rewarding -- if weird -- experience. It's just too bad that it takes so long to get there.

While there were no surprises, this is still a fun ride to take.

The Almond and the Seahorse is filled with sadness and pain, but there are moments of sunlight and happiness, which is ultimately the most anyone can ask for in this life.

Much of the film rests on the shoulders of Conrad Pla who plays Raymond Pope. He is the focus of the movie and proves himself an excellent leading man.

Max von Sydow is flawless as Ming, playing him with the perfect blend of malevolence and evil glee.

Tom Mercier’s performance is brilliant and engaging.

This movie best exploits the strengths of the show as well, such as the chemistry among the cast.

A dark comedy whose story is propelled by shock but sustained by issues of love and forgiveness.

I was hoping to be blown away, but was left feeling much like the iPerson in the "Machine Love" segment -- kind of cold.

Prison films are an underrated genre, and Pino’s film is a more than worthy addition to the great family of films that take place behind bars.

While the narrative and the characters are derivations of several aspirations, this still feels original and new. It’s a fun watch; the only hope is that Mukerji and the team will make a cleverer and more rational entry the next time out.

As it stands Changing Lanes already exceeds expectations, provoking serious thought while skillfully telling a compelling, character-driven story.

A Gentle Creature is an arduous watch indeed and will leave you a certain nausea that takes a while to go away. However, its mysterious ways, bolstered with a bit of psychedelic surrealism, makes it notable.

Despite being a little cliché, Ping Pong is a hell of a lot of fun.

Diving into Sam Harris’ life was fun, and you will have fun too… unless you hate musicals.

H20: The Intelligence of Water gives us a multi-angle exposé that illuminates with regard not only to the complexities of water on a surface level but also a scientific, technological, metaphysical, and even spiritual perspective, as water has long been poetically known as the blood of nature.

What makes it enjoyable is that it’s a relatively grounded action film…relatively.

Managing expectations is key to enjoying what, at its core, is a heartfelt journey of finding real connection in a fake world. Relax and enjoy how Maureen gets her groove back.

This movie is all over the place. One giant discombobulated stoner trip that goes from one obscure adventure to another. And you know what? It is quite a fun, odd journey.

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.

Whether you’ll have a blast with this beat has nothing to do with your affinity for metal music and everything to do with your tolerance for “heart-on-the-sleeve” independent filmmaking.

If you like action, then you’re going to have fun, but this is by no means a perfect movie and doesn’t stack well against old-school MCU (everything up to phase three). Its weakness lies in the by-the-book story and does nothing to overcome the superhero fatigue we’ve been feeling for a while.

Did what I had yet to see any other entrant in this arena do, it crossed generational lines and had 18 year-olds and 50 year-olds talking about the merits of the same film.... and that is truly it’s greatest accomplishment.

There are enough facts and inspiration to make Tiger worth watching. Mickey Rourke always gives a good performance, and he still fits in the boxing setting. The downside is the story’s structure is unoriginal insuring Tiger will never leap beyond being just a good film.

A rare high school dramedy with some heft to it. Smartly photographed and edited, it manages to walk the difficult tightrope strung between the typically loopy coming of age film and a simmering disaster in the making.

Few seasoned filmmakers can boast the lightness of touch, the comedic timing, and proficiency with an ensemble cast that the 21-year-old Lindon so nonchalantly possesses. The film would’ve been a treat if it were made by an established auteur; the fact that a complete newcomer concocted the entire thing makes it even more impressive.

Linklater reaches for the sky with this film, but the result is mixed.

A real treasure in the guise of yet another Sundance dramedy.

A film of limited production values, a low-quality picture and the occasional flubbed camera move. But it makes up for these flaws with sharp observations, compelling characters and a great collection of music.

It may be the most winning, smile-inducing Hollywood action flick of the summer.

While imperfect, it does provide an intriguing glimpse into a subculture, which many people will be surprised to learn, still exists.

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

The one thing that keeps this movie from being an instant classic is its tendency towards childishly goofy humor. I guess it all depends on how you like your funny.

Despite lacking more elaborate storytelling, Kirk Caouette’s indie thriller features enthralling action and a consistent aura of dread.

A film that's every bit as odd, unique, and unnerving as its title character.

I will say Candyman is worth watching. But I will advise not going in with preconceived ideas or comparisons to the original because that is where the disappointment will hit you like a brick to the head.

A black comedy that nonetheless manages to tap into the sense of alienation and unfocused rage so prevalent in today's kids.

The Last Boy Scout is overwrought, extremely violent, has a relatively unbelievable winding plot, perhaps the foulest mouthed teen ever, tons of low lives everywhere, lots of shots to Willis’ face, and is actually a pretty entertaining effort, an undeniable guilty pleasure.

A hyper-violent, hyper-gory, kung-fu grindhouse flick. And there’s nothing at all wrong with that.

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.

At a glance, this slow-burn plot may seem like an action-thriller. But thanks to the fascinating character study embedded in this script, it can hold anyone’s attention with the dialogue alone.

Rickman and Weaver sell it, and the utterly heart wrenching finale is the big pay off, and the experience is worth it.

Bad Boys for Life is a fun and competent action comedy with most of all the things people loved about the previous two films. It succeeds in that regard, but it does not successfully succeed in pushing the franchise forward and passing the torch to newer and fresher talent.

A chick flick in the purest sense--it's not about men or falling in love--and is quite funny.

Ultimately a complex meditation on this moral conundrum, a raw tale of survival against impossible odds, and a dashing adventure yarn all in one.

Slow in places, but the feeling of foreboding you’ll take away from it is undeniable.

The best thing I can say about A Dog’s Way Home is that it’s an exceptional film, that you’d find on the Hallmark Channel. Science has yet to count just how many strings the human heart has, but A Dog’s Way Home tries to pull every damn one of them.

Bender’s film never really leaves one’s thoughts even well after it’s over.