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.

The media and society, in general, love to label groups of people as “the others.” But throughout the world, we have more in common than we realize. It takes films like Alam to see that we’re all in this together.

It's the speed and intensity that makes the dance style remarkable.

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.

The director, who also stars in the film, and his fellow lead Christopher Abbott, share amazing chemistry that turns any run-of-the-mill conversation into entertainment.

Far from being a mere polemic, The Ground Truth is bolstered immeasurably by Foulkrod’s almost exclusive use of interviews with actual veterans.

Like its Russian hero, it aims for the stars and at times reaches exhilarating moments of weightlessness.

Not only is it gorgeous, but an excellent primer for the young set into South Asian culture.

Funny, uncomfortable and cleverly insightful.

Rogerson has crafted an emotionally satisfying exploration of the creative process through people who, before the program started, weren't comfortable with expressing themselves at all.

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.

Backspot has the same punch as Run, Lola, Run. Just like that film, the thrills are time released into your system at critical points throughout your viewing.

Rare is the motion picture which grapples with issues this provocative and profound. Rarer still is one which does so this well.

Go see Western because the first 98% is sly, endearing, and clever fun. As for the ending, do what you did for Aliens III and/or IV: just pretend it never happened.

With standout performances from Maisy Stella and Aubrey Plaza, it sticks the landing beautifully—don’t be surprised if it ends up on your favorites list, too.

Encircles the viewer in a comforting, open-hearted humanism. It’s a quiet, modest piece of work, but no less lovely for it.

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.

Sometimes Duck Season is amusing. More often, though, it is boring and icky.

This is a film that exists because of fans, was written for the fans and yet can be enjoyed by just about anyone willing to have a good time.

The Three Musketeers – Part II: Milady is a sky-high bonfire for the planet to gather around and witness legend in motion.

He and Côté write an ode to human resilience; they compose a soliloquy about lost identities; they paint a portrait of people seeking meaning, guidance, warmth. The result is a soulful cinematic treatise on the gradual, painful loss of a city’s soul.