Almost every scene impresses, has something to say. How refreshing is that? It’s been a while since a major studio production entertained and enlightened to such a degree, with nary a wrong step, for over two hours. If you can stomach the violence, you’re in for a hell of a ride. Here’s to the Western revival. I’m all about Jeymes Samuel leading this gang.

The only criticism that seems to merit any real discussion is whether directors Robert Rodriguez and Quentin Tarantino actually did make real grindhouse-style fare. To whit, I can easily say: yes, they not only made two on-point grindhouse films, they did them to painful perfection.

A brilliantly executed film that, like many real-life family reunions, is alternately painful, funny, and moving.

The level of craft in Poe’s feature debut exceeds that of directors with more experience and portends a long career with more wonderful art to come. In Selah and the Spades, she has created a new classic tale of power, love, hate, loyalty, and betrayal featuring a stunningly talented cast.

The film’s absurdly strong performances, music, and aesthetics all bring to life a wonderful film you won’t want to miss.

I really liked that Robert Greene chose to have the citizens of Bisbee play the roles of the strikers and deputies the reenactment. I feel that it really added something special to the documentary.

e-Demon is original, told in a striking, engaging manner, with stellar acting, and a good number of scares.

Watchmen: Chapter 1 is a delight for fans, and great follow up for those who enjoyed the comics and want to see more. Future chapters promise to be just as amazing.

The Bride is a delightfully insane romp that falls short of landing its message in mayhem. But what glorious mayhem it is.

Record nerds be damned, The Public Image Is Rotten rises to the top of rock documentary filmmaking with a refreshing sense of candid storytelling only made possible by the genuine frankness of its subjects.

Cane Fire is a fascinating documentary, and I would recommend it to any American to watch. We should see what is wrought by claiming an archipelago from the people who actually owned it.

From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.

Kathryn Bigelow's The Hurt Locker is a grinding, nightmarish machine.

The characters feel real, the performances are personal, and you really know each character by the closing credits. It’s not the most rewatchable film, but Under the Fig Trees will capture your curiosity and more than satisfy a need for an excellent character-focused drama.

An impressive documentary-style drama film, whose soulfulness and elegance dazzle.

This movie is absolutely fantastic!

The picture is a stylistically fearless rush; surreal one moment, satirical the next but never for a second dull, showy or overreaching.

Good One is a carefully crafted character study. It’s brought to life by perfectly calibrated performances, led by the young but brilliant Lily Collias. This is one hike everyone should experience.

Not a film for everyone. If you are squeamish about children being placed in danger then do not see this film.

A wonderful film, and one the entire family would enjoy.

For those following the career trajectory of Pietro Marcello, the feature works as another example of a nuanced filmmaker delivering a surprisingly different kind of cinematic experience. At its core, this is a memorable portrait of a father-daughter relationship and the power of dreams above all.

When it comes to survival tales, Society of the Snow sets a standard that will be difficult to top.

It’s not an easy watch by any means, and is bound to divide critics – but there’s no denying its forceful, searing power and the long, crimson-red shadow it casts.

The space stuff is secondary to a powerful tale, insightful dialogue, and brilliantly developed characters. It’s the perfect nerdy date movie.

How can such difficult subjects as under-age sexual activity, brutal beatings and murders be presented in a way that doesn't alienate the audience, yet still capture the horror and circumstances in a believable manner? The solution? Assign Kai Pieck to the task.

The movie blends true-crime realism with the sensationalistic macho-opera of a gangster film, complete with unspoken blood oaths and damnation arcs that play on a loop.

Thematically and artistically, Suzume is a gem. I was in awe of its animation and often found myself on both watches just looking at the vast backgrounds of each scene or relishing in the story’s emotional beats.

Daydreamers is the kind of high cinematic art that you fall in love with as it rips your throat out.

Boyega once again proves he’s one of today’s strongest young talents, giving us a glimpse of his mental afflictions without leaning into them as a dramatic crutch.

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.

That the documentary tells a wild, true story full of twists and turns and is populated by flawed but likable people makes it all the better.

The Aviary is a stunning work of art about how people get sucked into something offering a glimmer of light and how that light becomes distorted.

An effective comedy, an interesting bedtime tale, and one of the greatest date rentals of all time.

Eternal You is an excellent documentary because it engages you along the way, and you’re constantly wrestling with the issue long after the credits roll.

As ambitiously artful as it is infectiously engrossing, Birds of Passage brings an invigorating worldview to a genre so often riddled with clichés, weaving an astute tale of fortune and destruction as it explores long-held indigenous traditions.

It’s A Wonderful Knife is one of those pictures that is so surprisingly good you wish you had seen it in a theater. Plus, this is one spiffy-looking picture.

Gabby Giffords Won’t Back Down is powerful, inspirational, and emotional, a must-watch.

Utilizing never-before-seen archival footage, expertly-rendered animated interludes, and unprecedented access to those involved in the crisis, Kopple strings it all together into a gripping and emotional whole, like a true master craftsman. I will not be surprised if the living legend brings another golden statuette home this year.

It’s in the mice and birds friendly toward Cinderella, and the two bluebirds struggling to pick up the water-filled sponge to carry to Cinderella and splash it over her. Disney films have lasted for years by those good-natured moments and the superlative animation which has given it life for all these years.

Cha Cha Real Smooth is a series of reflections on life.

Just about the truest and most satisfying screen adaptation most anyone could have ever hoped for.

If FrontRunners doesn't teach you something about politics, at least it will entertain you.

He’s not just one of Canada’s greatest songwriters, but one of the world’s. If You Could Read My Mind reminds us why.

The songs in the film are a blast and John C. Reilly and Woody Harrelson share one of the funniest singing moments onscreen ever.

Although skirting the inexplicable and the absurd, Assassination Nation is a pulpy and immensely entertaining roller coaster, hallmarked by its relentless sociocritical bite and refined cinematic craft.

Miranda’s Victim is a strong film to watch to put into perspective what victims of a sexual attack go through in a non-varnished way.

The Fabelmans will take your expectations of the Spielberg brand and tie them to a rocket. It is engaging and compelling. I am still pondering it days later. If you love movies, you owe it to yourself to catch this on that same big screen that Sammy loves so much.

The Iron Claw succeeds because of the human story being told.

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.

The film uses voyeurism, knowing exposure turns desire into a visual battleground. To look is to risk punishment; to be seen is to invite destruction.

Abigail is a brilliant film showcasing the problem of bullying. The actors add to the weight of the story.

With the keen eye of a seasoned documentarian, the filmmaker captures all the depression, anxiety, boredom, love, loathing, and insecurity of seemingly apathetic teens, her gaze never mocking or judging.

A tale that's so enriching, so heartwarming, so funny, so touching and so breathtaking, you'll wonder why the king of wackiness didn't branch out sooner.

While there are flaws in some of the segments, it is overall a fantastic production that manages to be creepy as hell. For fans of anthologies, these directors, and horror in general, this is a great ride.

I'll just say to anyone lamenting the state of American cinema since the 1970s, if you're curious where the next generation of auteurs is coming from, look in the art houses and look in The Matrix.

The Substance is flawed but only because it is so ambitious. Fargaet takes the entertainment industry down a peg while still being very entertaining.

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.

32 Sounds serves as a glorious pastiche of interviews with sound makers, found footage concerning sound, and interactive experiments for audience members to participate in.

Ultimately, Slay the Dragon emphatically proves that no matter how rigged the system is and how high the opposition is stacked against you, it is possible to make changes if you’re passionate and articulate enough to convince your neighbors that something has to be done.

It flows from one interview to the next seamlessly, whether it’s a celebrity, writer, or friend. The segments never overpower each other. Instead, Martin adds layers and layers of understanding to Karen Carpenter, a woman who left way too soon.

With a razor-sharp and timely screenplay by John Hibey, combined with stunning photography by Oliver Millar, this movie is professional as hell with a dynamite ending which combines a clever pay-off involving a household appliance and a next-level twist.

What stands out about When Lambs Become Lions is its remarkable intimacy.

When you turn on Cryptozoo, you’re in for something that’s unlike anything else you’ve seen before. It is the most interesting and singular animated movie I’ve seen in years.

Bottoms falls right in my wheelhouse of comedy. Be offensive and don’t care about offending anyone. Bottoms goes after everyone without apology. It’s what comedy used to be; we’ve strayed so far off the path in the last ten years. There’s no place to play it safe in comedy. We need to return to this form of comedy oh so badly.

This movie doesn’t cop out. It doesn’t go for fake, feel-good warm fuzzies, and it’s not for the faint of heart. Terminator 3 has guts. It has a LOT of guts. And it’s a rare thing for any movie – whether it’s a summer blockbuster or an indie arthouse flick – to have guts.

Piątek’s documentary is, at times, a gauntlet of will and endurance. At other times it is a gentle rumination on coming-of-age. No matter what, the film is always incisive, and its character’s journey will linger long after the credits disappear. However, its most significant revelation is that all great things, adored as they are, come with much difficulty, both soft and loud.

Mogul Mowgli elegantly deals with essential issues while remaining entertaining.

Considering everything that MacKay and Hewlett attempt and successfully pull off, the minor imperfections of The Swearing Jar are particularly easy to overlook.

Here’s a film so quietly visceral it can sear through metal, “quietly” being the keyword. Don’t come in expecting a no-holds-barred assault on the senses. Nor is this a metal music extravaganza. The bulk of the film is silent, deliberate. We are thrust inside Ruben’s mind to hear what he hears, a pulsating, muted nothing, which is then jarringly contrasted with everyday sounds when we’re yanked back out of his head. The sound mixing and editing are nothing short of phenomenal in Sound of Metal.

The cast is strong, the comedy and the horror work perfectly in tandem, the meta-commentary is the best Scream, and the ending line is sheer perfection.

The smart dialogue doesn't hurt, of course, and perhaps the best work is done by Bird himself, who provides the voice of Edna "E" Mode, superhero fashion designer.

Light From Light does not totally stick the landing, as it stays small when it should have finally gone big. But the characters are well thought out and relatable, the cinematography is excellent, and the conversations between Shelia and Richard have resonance. This is all brought to life by an amazing cast, who absolutely deserve awards for their heartrendingly honest and raw performances.

With a deep respect for community and history, Unkovski weaves a sense of time and place throughout, capturing the harmony and imbalance of living through dialogue, people, music, and work.

More a celebration of movement and music than a parable for our over-communicative, friend-lite, acquaintance-rich society.

With a deep understanding of his characters, Green has crafted a film that's devastating and uplifting without sounding a false note.

An uplifting experience that doesn’t allow sport and competition to overshadow the stories of the runners’ lives.

This weird little slice of vampire movies is definitely not your average bloodfest. It’s odd and dreamlike and one of my favorite films I’ve seen so far this year. So give Climate of the Hunter a shot!

The power of Cadejo Blanco comes in its mystery and reveal. As such, don’t look much into it; don’t even watch a trailer. Instead, let the story wash over you and be awestruck by the impressive talent on display.

Catch The Fair One is a fantastic and engaging effort across the board. The direction is lean and ably brings forth the emotional truth of each scene.

Soucy’s documentary joyfully fulfills the mission of educating and entertaining, infused with the tremendous delight and loyalty of all those who worked with this seemingly magical production group.

Stolakis presents the facts in a studied but engaging manner. The testimonies from her subjects are genuine and heartfelt, especially as they continue to struggle with their faith in light of what is seen as God’s “failings” in their lives.

The seemingly total access and seemingly total coverage the film makers enjoy makes us forget at times that this isn't some Hollywood fabrication.

Marlina the Murderer in Four Acts is simple at a glance, nuanced under scrutiny, and is a damn fine time at the movies.

A biopic like Oppenheimer allows viewers to take pause and understand how the human mind has powers that propel life and change the world forever.

Like many of Claypools bands, Electric Apricot is bound to be a cult hit. I’m just hoping it will have the chance to play before a bigger audience as I feel the film is just plain hilarious and I was extremely impressed at the way Claypool pulled it all together in his first directorial effort.

The film has a disarmingly analog tone, from the almost 4:3 aspect ratio and deeply textured visual style, to the often dizzying retro-inspired synthy score. Obsession feels handmade in the best sense.

This is a serious look at the corrupting influences of fame, money and entertainment, and what it says about us may be even more damning than what it says about its participants.

The two actors (Hanks/Seymour Hoffman) have terrific chemistry and riff off one another like partners in a veteran comedy team.

It’s a funny, sad, and ultimately joyous journey into a world that most Westerners will not understand. It highlights the resilience of people, particularly women, in a place where the system has set them up for failure. Yet somehow, they strive, survive, and sometimes succeed.

Guzmán’s skills as a documentarian have not eroded one bit. His soft narration reminds one of Werner Herzog sans his, at times, metaphysical excesses. The director captures incredible footage of the protests as a functioning organism, a sublime wave of furious power.

In the hands of a less capable director and actor, the thriller elements would be squeezed out to the very last drop; the film would be yet another tired exercise in suspense. That is not what Sweat is going for. It is not trying to make you breathless from cheap tension; its goal is to leave you breathless from an aesthetic and storytelling perspective. Without a doubt, it achieves that goal.

A very, very good film that examines male ego in a way that’s almost more Sam Peckinpah than Sam Peckinpah himself.

Esposito’s debut is an exciting arrival from a newly minted auteur. Fresh Kills is a fresh take on a familiar subject, with enough splendid brutality to go around the whole table twice.

Bell's documentary is an absolute must see for anyone taking part in any kind of debate about steroids.

It is constantly entertaining, inspirational, full of funny stories, and it at the very least provides a look, if only somewhat superficial one, into the brilliant, lightning-fast mind and kind heart of the great Robin Williams.

The strength of Out of Plain Sight is that it dramatically illustrates both the importance and process of science and journalism, at a time when both are under attack.

Shot from the perspective of Reid’s wheelchair, I found I Didn’t See You There strongly involving. The vignettes that comprise Reid Davenport’s existence really give you a sense of life from the vantage point of one at a lower elevation than most. It’s life, as usual, just a little different, is all.

Soderbergh's film will be remembered less for the (inspired) star casting than for being one expertly made piece of pure, unpretentious popcorn entertainment.