Cegavske's film is a meld of surreal imagery, and a morbid somewhat horrific story that art lovers will enjoy. Horror fans need apply.

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.

Trekkies doesn't quite take us to the final frontier, however, it is the best documentary on the subject and a good laugh.

When The Namesake ends, one feels as though one has lived with the characters instead of just watching them.

Call it old-fashioned or old Hollywood fluff, Holiday Inn is a sweet, pleasant slice of another time in pop entertainment.

In showing such a diversity of perspective, Sementara successfully captures a moment of transition for the country of Singapore.

It empowers Chinese citizens while also shining a light on the exploitation and oppression they face in the workplace and job market.

White and The Edge appear guarded, and perhaps a bit intimidated, by Page’s Yoda-like status.

Any embedded message ultimately pales in importance to moving and understated story of love.

A beautiful looking kinetic film that’s always in movement. It’s a bit slow at times and the plot has a tendency to meander, but other than that it’s hard to find fault.

A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.

Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.

One of the basic tenets of film-making is to show, not tell. You Burn Me wanders outside that guideline by making a show of telling, which is as interestingly meta as Piñeiro’s approach of juxtaposing the interaction of Sappho and Britomartis onto a modern-day tableau.

Under The Stadium Lights stands out because of its two veteran actors in Milo Gibson and Laurence Fishburne.

All in all, this is an accessible art house horror film whose trailer and premise do not do justice to the end result.

Mehta skillfully navigates both the tender sequences and the more devastating ones. Aided by Howard Shore's rousing musical score, she portrays a beautiful country ripped apart by social violence. Her film serves as an ode to those who either died or were forced into exile for having the courage to express their true identities.

Over all though, this is a first rate caper piece elevated by Caine’s effortlessly elegant portrayal. The movie is wall to wall with pompous, sexist, greedy backstabbers and it’s a hoot to watch Hobbs mop the floor with the lot of them.

The film is most remarkable when it exposes the ease with which the press and a self-obsessed judge can pervert the country's justice system.

Upheaval: The Journey of Menachem Begin does not solve Begin’s paradoxes, but it does a very good job presenting them.

The greatest pleasure the movie has to offer is a chance to watch Spencer perform completely unhinged and relish every moment doing so.

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.

It doesn’t surpass the original, but neither does it disgrace its lineage.

Not a film that will change your life. It instead proves that shooting your movie with cheap technology doesn't mean it can't be fun or entertaining. In the end, that's enough.

What sets Bier's film apart from similar fare are the consistently fine performances and powerful scenes of surprising ferocity.

Unlikely but winning farce.

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

Quite honestly, if this had been a more violent film, it wouldn’t have been nearly as much fun.

Monday succeeds in large part to Sebastian Stan and Denise Gough’s performances.