Younger children getting in on the ground floor of fantasy will enjoy the film.

The story and music shine. Maybe it is not an instant classic like The Little Mermaid and Beauty and the Beast, but it definitely will enrapture a new generation of Disney fans.

Though Farewell Amor is not a “dance movie", it’s primarily about that moment when we dance - when everything else falls away, Amor takes over, and we bid our troubles farewell.

Although not a great film by any stretch, it is a fascinating slice of a fractious period in American history.

So now that I’ve seen one of “the master’s” films, I still can’t tell you what the appeal is. Pistol Opera is unique for sure, it just never made me want to follow it down its strange path.

Cinema Sabaya is a beautiful model of peaceful coexistence. This is a heartwarming film that should be watched by everyone.

OBEX is an earnest, strange, and delightful adventure.

Once Upon A Time In Uganda is a triumph on all levels. It is filmed with style, follows immensely likable people, and has an infectious, exuberant spirit that is impossible to resist.

The finale of Emily the Criminal does not match the pulse-pounding scenes of her earlier assignments. However, it still manages to work toward a satisfying, logical conclusion while offering a solid critique of the gig economy many Americans face in which fortune is merely a credit card swipe away.

The only reason to watch The Kindergarten Teacher is Ms. Gyllenhaal’s performance, whose quality makes us resist until it’s possible.

The story takes some kooky turns and, at times, delves into the supernatural.

Ultimately, The Naked Gun reboot delivers enough laughs to make it worth the ride, even if it never quite escapes the shadow of its predecessors.

Dense in content but also delivered at an intense pace – much like the raps themselves – the script by Kahn and Alex Larsen (a prominent Toronto rapper under the moniker of Kid Twist) balances the harsh directness of rap lyricism with academic analysis, without alienating fans of either realm.

For those who find that most “life-affirming’ films leave them nauseous and sometimes angry, Man on the Train is a miracle of genuine uplift working with two characters probably fated to die.

North Circular is a strikingly perceptive film.

As far as romantic laments of starving artists go, Blaze is one of the better ones.

As with the Jarmusch’s best work, it is kept simple and taken very slowly and is just sort of allowed to happen. The magic lies in the lulls.

One of the most gripping, thought provoking dramas ever to ponder crime and punishment.

To be able to understand these universal experiences on a deeper level because of this film is a true gift. Even if you don’t have a Zoe, just know that you’re never truly alone.

Wolf’s directorial command when selecting material to showcase and contextualize the anecdotes spun throughout the film further affirms his mission to paint the most compendious picture possible, and he succeeds quite admirably.

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.

Despite its few flaws, Joy Ride does take viewers on one hell of a ride. It's one of those rare films that manages to take an overused plot and breathe some sort of creativity into it.

Enough about the CGI tweaking, is this film really Lucas's unloved masterpiece? The film that got lost in the shadow of "American Graffitti" and "Star Wars" while, actually, being a better film?

The mundane is only as mundane as you make it, and the supernatural can be painfully mundane.

The two actors are bound to be showered with awards, as is the production design, the polished script, etc. But there’s no intrigue, no real substance beneath all the gloss.

The camera lingers on the characters' minimal, but expressive actions, allowing the viewer to soak in their emotions rather than having them related to us through dialogue. In doing so, In Between Days is more of an experience than your average movie.

When I Consume You is stunning to look at and beautifully acted. Even though not everything makes sense, Ewing and Dumouchel ensure that every emotional beat feels honest and the entire film breezes by, as it is startlingly original and unique. It is not perfect but it is ambitious and touching, and that is enough.

Pay Or Die acts as a call to action driven by human stories.

Documentaries by nature are utilitarian, telling a story from real events as they happen with little expectation of aesthetic value. Once again, Smith ups the ante, delivering a film that is not only intellectually stimulating but visually as well.

Visually sumptuous and brilliantly filled with black humour, Influencers doesn’t pretend to be a healthy genre film. It’s cinematic satiric fun on the level of a Punch and Judy show.

A kaleidoscopic look at a marginalized community, Queer Japan is required viewing for anyone in the community as well as their allies.

Blind Ambition has plenty of drama to make a wine tasting engaging for even the most devout tea-totaller.

All of the nutty editing and the loud score just grated on my nerves and failed the story.

I really appreciate the bold narrative that Thyberg and co-writer Peter Modestij crafted. It is sex-positive, it takes no prisoners, and it grabs your attention from word one to the final frame.

The actress playing Jade, Vicky Knight is a burn victim herself. It lends a realism to the movie that makes it by turns heartbreaking and inspiring.

An Inconvenient Truth is something you rarely see in movies today: a blatant intellectual fraud. Shame on all of the people involved in this travesty.

From the performances of its first rate cast to the infectious score and Audiard's deft direction, this is one of the most accomplished movies you'll see anytime soon-old, new or, as is the case here, combining the best of both.

About as funny as a funeral.

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

As entertaining and surprising as the film is, however, nothing can prepare one for its rousing final fight scenes.

A brutal mystery that's more beautifully poetic than the previous entries but still just as captivating. From opening to closing credits, every image is photographed as if it were a painting; even those involving ferocious violence are wonderful to look at.

The kids and adults can dig this one, though adults may be stricken with Disney deja vu by this point.

The Seer and the Unseen has more to offer by showing us the kind and gentle landscape and people of Iceland. It’s best to take the movie for what it is at face value. If you’re the type of person, who just wants to mock an old lady, then you best move on to a different film.

Sublimely silly and genuinely sweet film.

It's a nice refresher course to remind us how hard Nader has fought for everyday citizens, ultimately saving hundreds of lives in the long run.

Friedkin gives us a master class on the creative process of film and a set of expertly told war stories that thrill and inform. It just doesn’t get better than this.

Whether you like blues or not, you’ll appreciate the musicianship on display here. Inspired and inspiring, Satan & Adam will make you thank the heavens for this legendary duo.

Despite Arterton’s outstanding performance, the film weakens considerably in its last section.

Send Help is a brilliant, startlingly gory dark comedy. Sam Raimi still has that old magic.

Bulworth has the distinction of being the only summer movie that might make you think and for that, it definitely deserves ample praise.

Subtle, neurotic and multi-layered, every scene in The Stunt Man is about multiple things at once. Paranoia, obviously, but also the stress of filmmaking and simply living.

Halbrook absolutely nails the lead role of Mr. Abner Meecham, the headstrong farmer whose lips can’t form the words “give up.”

Sure, Blindspotting can feel a bit rough around the edges. Diggs and Casal have so many ideas they want to explore, and they aren’t always able to articulate them in a concise, economical way. But even if they haven’t quite honed their craft as screenwriters yet, theirs is a story that desperately needs to be told and they continue to find compelling ways by which to convey its urgency.

They should have produced this in 3D for IMAX as Metropolis is the kind of work destined to blow the minds of stoners everywhere.

Subtle, funny and touching. It’s not like a blow-by-blow “Birth of a Hero” type of film. The script is near perfect and the acting is spot on.

Colvin’s downward spiral not only sucked the positive energy from her friends and colleagues, but it will take it away from you as well. Quite frankly, this is a good thing. Films don’t always have to end with rainbows and lollipops to be powerful.

While the screenplay for Little Chilldren is basically perfect, it's the acting that really drives the film home.

Hammer has the mechanics of a hard-edged noir thriller, which work startlingly well, but it’s clear that Sparkes’s heart, and therefore the film’s, is centered on the distressed familial relationships.

A reminder of the importance and intimacy of literature, a meta-study of art vs. fabrication, an indictment of cultural appropriation/racial stereotypes, our increasingly digitized world and entitled generation, The Plagiarists is also an ode to how much can be done with very little. Parlow and his crew knock it out of the park.

Ozon knows his camera placements, musical cues, and, of course, actors, and here he barely steps wrong, pulling us into the narrative, even while dialing back on his usual extravagance.

I've already seen at least 20 documentaries this year. They've left me amused, sad, informed, bored, pissed-off, whatever. I'm willing to bet, though, that I don't see another this year as richly entertaining or as cathartic as The Kid Stays in the Picture. Is it really that good? You better believe it.

Like all good films, it raises these types of questions, answering some, and leaving some for you to answer yourself.

It makes the mistake of developing the characters less in order to increase the chance of symbolism more.

Sally is a perfect portrait of an American icon, proving that anyone can achieve their dreams with passion and grit.

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.

The Belcher family’s adventures are heartwarmingly engaging as they pull together while annoying the crap out of each other. The music is catchy, and the characters are beautifully drawn, both figuratively and literally. The Bob’s Burgers Movie is the best family-musical-murder-mystery for the Adventure Time generation you’ll see this summer.

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

Vision Portraits heart lies within these stories, but its power stems from its style. The cinematography by Kjerstin Rossi and Mark Tumas is often obscured, fuzzy, out of focus, or so close it is uncomfortable.

Watching the American nightmare of Must Read After My Death play out, it's impossible not to be both horrified and powerfully moved. Impossible as well not to feel profound admiration for the artfulness with which Dews has pieced these archival cries for help into a singular creation anyone who appreciates first rate filmmaking absolutely must see.

A heartfelt and incredibly resonant ode to his father's achievement, Mario's film relives the blood, sweat, and tears that went into the making of Melvin's pioneering effort.

Kandhari delivers a story one might never expect, lingering with you long after it ends, which is long-winded. He captures many details from set to screen with honest conviction, making them memorable within a very unusual but novel story.

Will warm your heart without making you feel guilty about it.

I thought I might have seen everything I needed to see about neo-Nazi skinheads in "Romper Stomper" and "American History X". Not only was I in for a surprise, but newcomer Ryan Gosling gives every bit as stunning a performance as did Russell Crowe and Ed Norton in those two films, and then some.

The film has a riveting central narrative, the performances are compelling and, most of all, we need to hear more immigration stories like this.

The story goes on and on, endlessly fascinating to the last - the sensational trial, the convictions, the revelations, the recriminations.

It's vital that everyone who cares about film see this documentary.

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

Origin is an important movie for this single reason: to make us rethink race in America.

As with all of Mann's films, Manhunter is an intense experience. All of the actors, including even legendary goofball Chris Elliott, give brooding, serious performances.

The reason Titane works is director Ducournau and actors Lindon and Rousselle’s commitment to their characters and stories. Each performance is played straight without a single wink to the camera.

The Deeper You Dig is one of the more fascinating explorations of psychic activity and hauntings that I’ve seen in quite some time.

Producer/director Robert Aldrich acknowledged the two performers’ “monstrous” potential – and by unleashing them face-to-face, he became a ringmaster.

Hatching is the very essence of a midnight movie and one that will undoubtedly find a sizeable cult following. Sure, its metaphor isn’t as deep as it thinks it is, but this is certainly a solid start for director Bergolm and lead Solalinna.

This is clearly not a pleasant film to watch on many levels.

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.

One definitely has to have an appreciation of the absurd to enjoy Diamantino.

As you follow Ned into adulthood and bear witness to his many exploits—bare-knuckle brawling, throwing together a gang of brutes who wear pretty dresses, walking into a gunfight with a homemade suit of bulletproof armor, and more—you figure out quickly that the movie’s biggest strength is its desire to disgust and disorient.

Full of off-kilter characters who don't talk like anyone in real life, but sound a truthful chord.

Without flaw, Woodward delivers her character’s need for change with authenticity and a sense of progression.

Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.

Porcelain War is an engaging, timely look at art, war, homeland pride, and the resilience of the human spirit. While it is not subtle, it is impactful and never dull.

Sicko Is flawed and occasionally stretches to make its point, but the movie's message speaks for itself.

Jenkins' film ranks as one of the past year's very best. Like "In Cold Blood," "The Onion Field" and "Dead Man Walking" before it, her picture provides a mesmerizing portrait of the human side of evil.

By simply witnessing the grandeur of the sea, by allowing us to glimpse that symbiosis between ocean and universe, the film ends up resonating powerfully, a feast that will stimulate both the eye and the cerebral cortex.

It’s a true endurance test, far too grim to be considered exciting, but not really informative enough to enlighten us about the effect of our presence in Somalia in 1993.

Wonderfully effective, funny and yet horrific film.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

It feels timely and urgent, and its phenomenal young heroine ensures it doesn’t become overly mawkish, preachy, or prosaic.