Bukowski is one of my all time favorite writers and now I have an all new respect for the man thanks to John Dullaghan’s phenomenal film. I’ll be breaking out “Post Office,” “Ham On Rye,” and “Notes of a Dirty Old Man” again very soon.

A powerful film worthy of a truly extraordinary American.

What works about Carolina Caroline is how it looks and feels.

Björn Runge’s The Wife is an unmissable drama, largely in part to Glenn Close’s stunning performance in the title role.

I highly recommend this decades-spanning, engrossing, hilarious, sad, and informative documentary to all music fans, whether you liked Davis beforehand or not.

Fascinating, horrifying and hilarious.

The Black Guelph is as gritty as gritty can get.

The result is stunning -- both as a narrative film and as a document of the place and time.

The story, centering around family, culture, and identity, comes from a unique perspective. Some sub-plots go unaddressed, yet Tedaishivili’s excellent performance always brings you back with the worn gaze of a battle-weary wrestler.

While maybe not top-tier Jarmusch, the film certainly marks his most mature effort to date.

Where Licorice Pizza was fun, bombastic spectacle of performances, I Like Movies is a more subtle, more human, more cohesive film with a devastating and distinctive point of view.

It’s hard to underestimate how knowledgeable this movie is about the difference between what people think they want and what they really want.

What separates Adventureland from something like "Garden State" is a commitment to realism and plausibility. In fact, at times, it is almost too realistic given the location's inherent value as a comic prop. For a film set primarily in an amusement park, it isn't terribly amusing.

The Last Resort could have been a slight, sunny picture postcard from Biscayne Bay. A piece of fluff that would delight our cravings for the past — whether or not we were actually around to observe that not too distant past firsthand. But instead it’s a heartfelt and jubilant love letter to a paradise found, lost, and reclaimed — Miami’s South Beach.

Essential viewing for those who want a complete perspective on the history of film. Tons of information is packed into an hour and thirty-seven minutes and much of it I didn’t know before watching.

The primary weakness is in the story itself, which at times seems like mere background for the snappy banter and knowing glances.

The fact that it purports to function as a not-so-thinly-veiled parable about the limitlessness of sexuality, gender fluidity, and the marginalized makes it that much more unbearable.

I Carry You With Me is an emotional powerhouse that had me and the other moviegoers crying our collective eyes out.

Contains enough magic and sincerity to cover the proverbial multitude of cinematic sins. And, better yet, for all the Irishness, it contains not a single alcoholic and not one barroom brawl!

The cast and crew can take pride in the fact that they’ve crafted one of the more singular experiences of the year.

It's damn funny. It's also the best date film I've seen in a long time.

Liza: A Truly Terrific Absolutely True Story is a phenomenal documentary and jubilant tribute to one of the best!

[Simon Rex] goes all-in and sells it with incredible skill and passion. Suzanna Son as Strawberry is also a revelation. She has star quality and a screen presence that is extremely rare. We will be seeing her again.

Mangold has time to build sensational, studied characterizations, brilliant pacing (courtesy Mike McCuster, who also edited the director’s previous effort, the Johnny Cash biopic “Walk the Line”), and blistering action.

Extremely funny, side splitting good time.

A bleak and powerful movie, made all the more sobering by how much of it isn't fiction.

Dreamgirls is a better musical than "Chicago" or "Rent," but then, that isn't really saying much.

Political intrigues, potential murder plots – oh, and Putin’s rise-to-power and consequent 18-year-reign – Gibney serves it up, warts and all.