Arcadian should be the sleeper hit of the year.

It is just too bad that this film isn’t as snarky and groundbreaking as it would like you to think it is.

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

The Grand is a fast and furious comedic attack that begs to be seen again. There’s just so much going on, it’s nearly impossible to keep up.

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.

A dance of combat and humor saves a contrivance from drowning. Or, rather, Chan and Li elevate it enough to make it into a good time.

Yes, there is a lack of real substance throughout Simple Passion, but the sex manages to fill that void to a degree and keep the film afloat.

Each scene is enticing, draws you in, and tackles the verbal foreplay from the book nicely.

Minghella’s incredible directorial debut is a technicolor, neon-drenched fever dream. It is told with remarkable visual prowess, jaw-dropping editing, a soundtrack to die for, career-best performances from its central cast, and most importantly, heart. This is not to be missed.

Should have billed itself as a fairy tale, as that’s the only possible way to swallow what Prince-Bythewood and Kidd are feeding us.

No, this isn’t going to be for everyone, and if you didn’t like the original show, you’ll probably hate this too. For everyone else, this is the one comedy in ’02 you can’t miss.

The thriller aspect of the film acts as the payoff to audiences for having to sit through extended discussions. While it’s not the most clever or brilliant thriller, it’s exciting nonetheless and will have you on the edge of your seat to the end.

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

This has the unmistakable feel of a vanity project about it, which makes it a little tough to take either Dillon or the film seriously.

The film has a lot of humor and joy in it.

One of the most effective, intelligent, mature and romantic love stories to come across the screen recently is, of all things, a documentary.

I won't spoil the ending, but if Code 46 is to be believed, women will have it even worse in the years to come.

The photography alone would make this a worthwhile effort, but the drama that unfolds over the two years on tour is equally involving and framed by the interviews with former champions.

Do we really want to live in a world void of "Wild Man" Fischers, and all their unique forms of creative expression? Savor the fascinating, thought-provoking Derailroaded, and you be the judge.

People like Amy Grappell should be highly honored for showing those parts of the world that we do not know, despite news networks insisting otherwise.

A great effort from first time feature filmmaker Jason Matzer.

This could've easily been a giant mess, but aiding filmmaker Scott Storm in keeping his ship together is a talented ensemble cast who compliment the sharp, witty script by writer Paul Osborne. You're never too lost in trying to figure out why this poor guy is doomed and you're always entertained. Talent coming in from all sides makes Ten ‘til Noon great movie watching.

Honestly, the most shocking thing put forth in Harold and Kumar Escape from Guantanamo Bay just might be the proposition that George W. Bush is actually a pretty cool guy.

This film moves in directions that make you scratch your head more than sympathize for the character.

Aggie is a film every art center in the country should show to its supporters and community as its positive message is inspiring, aspiring, and beautiful. Aggie is a film about someone with imagination, and art requires imagination.

The final product more than overcomes its weaknesses.

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

Some pacing issues result in a feature that feels a bit uneven, but I’d be lying if I said I wasn’t entertained throughout all the craziness.

Many have described "Journey" as a 3D film dumbed down to a theme park attraction. However, its visual splendor would have left Walt Disney weeping and Sergei Eisenstein preaching of cinema's second coming.

Most of us are aware of the “production” inherent in television news. Dumont presents to us the contradiction and spurs us on, in Brechtian fashion, to try to resolve it.

Ultimately a story about the American mindset post-9/11, Right at Your Door is also a much more personal tale, as it forces all of us to consider what we would do if the chips were down.

This is absolutely Eli Roth’s best film. It’s scary, poignant, thrilling, and just a ton of fun.

Chock-full of offensive stereotypes and puerile in-jokes.

Charlie Says ... missed a chance to explore the psychology of a cult and instead feels like a gauzy art installation without much focus.

I loved this film; from the opening “Ben-Hur” nod to the hieroglyph subtitles, it's simultaneously hilarious and poignant, with great performances.

Unfortunately, the accompanying story threads tend to bog down the action rather than provide contrast between the games.

It's difficult at first to tell whether this is a documentary or a fictional work and this makes Assisted Living all the more involving.

Yes, it was made during the pandemic, and the storyline serves as a metaphor for our current feelings and experiences, but it doesn’t use the pandemic as a tool to directly prey on our anxieties. It’s a bit more thoughtful and reflective than that. This drama gives us the green light to sit back and say, no matter when the end might be, perhaps we did just fine with our time here.

The cool thing about this film is that instead of the normal talking heads and formulaic path of the typical biographical documentary, we are shown photos and films from Wyman’s personal archive, which is one of the most impressive things I’ve ever seen.

Right out of the gate, we realize that bringing the series to the big screen makes the flaws that much more obvious. The voices are too thin, the music and lyrics too simplistic, and the production values are – frankly – too "televisual."

The experience seems filtered. What’s lacking is any trace of spontaneity. We never see anything significant transpire, only people talking about it after the fact. Nor do we hear any dispassionate commentary evaluating Nash’s career from an outsider’s point of view.

Smart and full of sharply drawn characters and wonderfully snappy dialogue.

Despite being overall quite enjoyable, it feels very rushed in places, especially towards the end, and it fails to cap off Midway’s epic rise and fall as it deserves.

It’s pure horror movie fun. Yet the relationships consistently raise the stakes and elevate the film from the “creature feature” label to the kind of thriller that becomes a fan favorite.

Every once in a while, the story of an individual slips through the cracks. Memoir of War is one of those stories and, as such, provides an unseen perspective to a plotline that we all know well.

It might be a typical Guy Ritchie film and loaded with every cliché in the book, but it’s still fun.

It's a bit of a shaky first screenwriting effort for Coupland, but not without its charms.

Them That Follow is a dark and richly atmospheric experience. Despite its missteps, this is one snake-infested cinematic pit worth investigating.

Antibodie does fasten a tight squeeze on its audience, right from the get go, and even despite the long run time, just over two hours, it's a consistently tense ride.

With characters that we watch but never know and some imitative storytelling, Galveston can’t help but feel like a compilation of cover songs, which, while listenable, are stilted and perfunctory.

It’s shocking how much Dark Blue hates cops.

The role is ill-suited for Kinnear's talents. Abraham's pacing is glacial, the cinematography is flat, the score by Jill Savitt is suited better to a supermarket and then there's the fact that the climax can be seen coming a mile away. Maybe the biggest, though, is its failure to play fair with the audience.

For an action film, Havoc feels aimless and lacks suspense.

A delightfully silly romp which reinvents the legendary Italian lover's adventures into the realm of broad farce.

This is a hard film to watch. If you can stomach it and its terrors, this film rewards you with a cracking good fireside story

A brutally candid and well-intentioned documentary that exposes the modern faces of those embroiled in antisemitism.

The supporting characters suffer from excruciating one dimensionality since none of them really have anything to do but look forlorn and opine about days past.

The film has a wonderful style and a sense of movement that barely slows down for its two and a half hours.

Blends classic elements of fantasy, teen-angst and coming-of-age tales to create a genre all its own. And through it all, the movie is undeniably wholesome.

With Settlers, Rockefeller and his crew have created a striking little treatise on our misguided ambitions.

It is so bad that it’s flawless.

The Flood nearly sinks under the weight of its contrivances, but is barely kept afloat by its two central performances.

“Syriana's” dumber, louder cousin.

It’s like a video game, but with Chris Hemsworth doing all the killing and maiming. Again, the stunts and special effects are fantastic, and as far as action movies go, there are far worse options out there.

The Good Traitor is still a solid movie for history buffs and does contain several moments of genuine style, making it well worth the watch.

Dear Lord, this movie didn’t need to be made. It is profoundly awful. The foreshadowing is relentless. Sorry, Barry Jenkins just can’t direct animation.

I highly recommend this film to everyone but especially those who love biopics and prison thrillers. I think it’s important for people to learn this piece of history, and I’m glad that Francis Annan brought his interpretation of these events to an audience that might not be familiar with them.

The script’s extremely well written, the direction flawless, and the performances -- especially by the fantastic Joaquin Phoenix, gobsmacking.

Settings aside, Infinite Storm is Watt’s show, and she is thoroughly invested.

Tykwer makes of all this murder and madness a concoction of improbable beauty and rare artistry. "Perfume" is not just the finest film of his career but easily one of the past year's most accomplished.

Classic adolescent coming-of-age tale.

This film is designed to turn your stomach and make you feel ashamed of your fellow man.

On top of the tried-and-true prison genre formula coupled with the misfit gang formula, Rupert Wyatt's "he Escapist flips everything on its ear by playing out in two timelines simultaneously.

Antebi resists the temptation to supply a simple, idealistic solution to achieving sobriety, an ongoing process that takes time and effort. Instead, he untangles the struggles of addiction and the road to recovery with a dose of levity and absurdity. He thus renders it easier for the viewer to latch onto the high-energy, albeit overly confident cinematic machine that is God’s Time.

I don't know if this movie could have been made with anyone but Chow Yun-Fat. As Chen, he finally is allowed to display the nervous energy and Eastern rhythms we associate with his Hong Kong work.

The real-deal, packed with more excitement, vigor and fortitude than an unfaltering Magnum.

I found the entire emotional journey on which Weightless takes viewers to be rewarding as well as heartbreaking.

It's hardly a foreign film; this is our common history, and it's a film well worth looking out for.

Scarlet is at its best when it is simply moving and letting the visuals, the fights, and the bond between Scarlet and Hijiri do the heavy lifting. Even when the destination feels obvious, the ride is so gorgeously constructed that it’s hard not to admire how confidently Hosoda brings it home.

Fails to make use of its clever dialogue and concepts as it attempts to become something more profound.

What saves Adrift from an instant wreckage is Woodley’s performance, but still, it’s preferable to read the facts than cope with its cinematic adaptation.

The talent on display from the artists involved is incredible, the history of taxidermy is informative, and that it touches upon several different kinds of taxidermy make Stuffed an invaluable resource.

Honestly, this movie would've worked a lot better had the Red Sox not won the World Series.

The film does not know what it is, tonally changing within and between structural acts.

Give Harsh Times an "E" for effort, but not much else.

What was needed was either a Stanley Kubrick, or, well, the Farrelly Brothers. Instead we get warmed over Spike Jonze. Still, a little watered down Spike Jonze has to be entertaining some of the time, so this isn't a total loss.

Easily the most surprising comedy of his career. The surprise: it's not funny.

Although there are a few other flaws in the film (flaws that will not be mentioned since it would give away major plot points) and the lack of character development is a major oversight by the filmmakers, Return to Paradise still manages to grip you until the fateful ending, an ending that is very powerful and must be witnessed to be believed.

Transporter 2 was directed by Louis Leterrier and he exemplifies a perfect style for this type of film by showing us the action without editing it to bits.