Where’s My Roy Cohn? is a great doc that’s a tad aesthetically stale, but it will have a mass appeal even to those unfamiliar with Cohn and uninterested in politics and law.

Alexandre O. Philippe is a fine filmmaker and documentarian. Memory – The Origins of Alien, however, is a bit of a class on story structure and theory.

Veni Vidi Vici is doing a lot, but the filmmakers make it all work. Their strict control of the comedy hits the perfect dark tone. The cast is tons of fun, while the writing is a sharp takedown of politics and power in modern-day Austria.

Tim Roth is great as Neil.

Storywise, Campbell-Hughes ably plays audiences like a harp. The plot often lulls those watching into a false sense of complacency before upending the expected resolution. In this way, the filmmaker keeps the narrative fresh and unpredictable through the bitter end.

Companion takes a stab (literally) at sci-fi horror with an interesting idea, but making a robot the emotional center of the film is a misfire.

So, just know that A Complete Unknown comes off as really boring throughout. None of this will stop Chalamet from shining out with the ultimate movie Dylan. It is a tousled hair masterwork of a performance, completely adapting the essence of Dylan to a folk music Batman.

Ultimately, My Penguin Friend is a great film to take your kids to. It is a story about an unshakeable friendship and traversing the roadblocks life puts in your way. It is a life-affirming balm for the soul.

The film also benefits from unusually solid writing and a masterfully understated turn by Billy Bob Thornton.

The best cure for a bland movie is quality ingredients, and in this case, it’s Manville and Neeson’s performances.

To be authentic to the book, Nichols tells a story grounded in reality to paint an indelible, searing image of a moment fixed in time.

Patric and Liotta are as tense and great as they've ever been.

A very creative documentary that takes a seemingly dull topic and makes it entertaining.

The space stuff is secondary to a powerful tale, insightful dialogue, and brilliantly developed characters. It’s the perfect nerdy date movie.

Let's not kid ourselves: There's something about Javi.

This is the purest of American narratives, and this, indeed, is one of our finest storytellers.

In the end, Sisu is all about the violence and blood, and there are buckets of both. This is one of those action films where you can just sit back, unplug your brain, and hop on for one wild ride.

Resurrection is a brilliant thriller that rests on the actors’ remarkable performances without the need for typical thriller elements nor the need to resort to torture porn.

Tsotsi emerges as being among the finest films ever to come out of Africa. It is a brilliant, jolting and altogether powerful blast of energy and emotion.

Basir doesn’t shy away from glaring into the gaping maw of despair. But he skillfully counterbalances it with an energy that propels the film forward; how refreshing: this filmmaker has something to say.

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

Hard Miles is standard fare, but it is well-made. The cinematography is fantastic, capturing the rush of freedom a bike can offer. The score is also a great addition. The cast is solid, and the story is a sweet, engaging affair.

The Brother from Another Planet profoundly illustrates, modern life is more unfair than it needs to be….It may not be the perfect John Sayles film, the perfect science fiction movie or the perfect film about black life — but it manages to seamlessly mix wit, slapstick, poignancy and politics.

Benjamin Button is pretty much just "Gump" with better cinematography.

It is, first and foremost, a blistering character study, raw in its power and realism, its beats as unpredictable as its protagonist. I’d say buckle up, but dirt bikes don’t have seat belts.

The Fam sensitively deals with a tough subject and serves as a striking introduction to a roster of formidable talent. It certainly feels like the cast and crew have become a true family during the shoot.

The acting is sub-par, with Selena Gomez delivering the weakest performance. I don’t know Spanish, but even I can tell she struggles to sound like it’s her first language. As Emilia, Karla Sofía Gascón is stiff as a board and can’t sing. Zoe Saldaña is the only one putting an effort in, but even she can’t make horrible lyrics sound authentic.

Sword Of Trust is one of the most well-written and acted comedies I’ve seen in quite some time and definitely the best I’ve seen so far this year. It has a high absurdity factor but simultaneously the set, costume, and production design is so life-like, you willing go along for this truly weird adventure that really only could happen in the south.