A gripping example of "You Are There," on the spot journalism, even if it is a little slim when it comes to motives and back stories.

There are no sacred cows in A Mighty Wind. Even beloved public television is skewered by Guest and Co. In a lot of ways, this movie pokes the most fun at the average PBS liberal who refuses to let go of the 1960s.

Elevates a significant moment in the history of this massively passionate spectator sport.

Overall, That They May Face the Rising Sun is solid and worth your time. The acting is top-notch, and the story is compelling, but its verisimilitude is truly off the charts. This is the closest you can get to a time machine to take you to a bygone time and place that is little celebrated but worth remembering.

Fran Kranz’s debut feature-length dramatic film Mass will linger in your head as you process its ability to provide solace in the face of atrocity. Perhaps the most defining quality it exudes is Kranz’s ability to evoke impressive thought-provoking drama within a bare environment of a table, chairs, and four people in an auxiliary church space, the primary location for the entire film.

So much of Art for Everybody follows a traditional rise-to-power and fall-from-grace structure. The story gives equal time to Kinkade’s adoring friends and his harshest critics while allowing his family to serve as both. Yousef never tries to immortalize or romanticize the painter but instead focuses on the person and his path to the limelight.

This film, this artist, this music, this story: all rare gems…see this film.

Bateman is given all the best dialogue and delivers his hilarious one-liners and odd observations with his usual brilliant deadpan, along with Garner who gives the finest performance of her career.

It is a short jump from laughing to screaming. There is no safe space. Cregger has a refined sensibility for identifying the core irritations in ordinary life and amplifying them into anxiety, escalating to terror.

There is so much to love about the film. Its greatest achievement is its screenplay, which is very dense. Nothing is wasted — not a single side character, joke, gag, or plot point. Every element serves a purpose to the overall story.

It’s a mature story, and with maturity comes a subtlety that goes beyond exposition. But filmmakers must balance tones effectively, and Khan is unable to shake his film’s monotone nature.

These iconic images seem endowed with a sort of “livingness,” as if they have acquired special powers.

The best boy’s adventure of the year.

If you’re a fan of Godzilla, prepare to have your mind blown with Godzilla Minus One. Set your expectations high, and enjoy the ride.

Thornton's Jacob initially comes across as the love child of Elmer Fudd and Butthead, but ends up as the best role he's ever had.

Cortés’s devotion to creating a film in honor and respect of Little Richard is also one of achievement and understanding for those who have been marginalized for being who they are.

Boesten’s ability to capture the natural beauty and intense emotions revolving around family, ghetto life, drug dealing, and its consequences is exceptional and unexpected. She transforms Master of Light from a straightforward biography of a great but somewhat unknown artist into a poignant documentary that offers something to everyone of any generation.

Tom McCarthy’s film is never more than small, and that’s how it should be. It is about treasuring life -– sometimes even cheating death -– and it manages to warm hearts in its own uncompromising way, rarely cheating and never belittling.

Masterpieces of literature-to-film are a rare breed; this film falls short with satisfaction.

It is a thorough examination of over a decade of conflict and strife, packaged into a feature film, which is no small feat. But its failure to focus on the FBI investigation and muddying its portrayal of King hurts the overall production.

As promising as the premise sounds, it cannot rise from the mundane.

Directors Calvin Thomas and Yonah Lewis deserve credit for taking a gutsy leap with the subject matter and delivering without pulling any punches.

Take the safety off of the comedy Magnum called Happiness and put the barrel in your mouth. You'll laugh your ass off as it takes off the back of your head...It could be the best film of the year. At the very least, I'll never forget it.

It should not go unnoticed that Ducournau gives viewers some amazing scenes that capture the poetry found within the grotesque.

It’s a compelling ride. But the film also manages to accumulate a layered look at the nature of brotherhood, parenting, adoption, and above all the power we do or do not have over the mental and emotional tendencies woven into our DNA.

Little Trouble Girls succeeds as a combination of poetic visual compositions and vibrant, dynamic performances from the female leads.

It’s a very exciting, sad, yet extremely funny film.

The American Fiction cast is brilliant.