This is a spacious, robust movie that grabs hold of us and doesn't let go for nearly three hours.

The suspense in Tailgate is cringe-inducing. Crijns keeps his foot on the gas for the entire runtime, artfully ensuring that neither the victims nor the audience ever gets a moment to breathe. Even with a premise we’ve seen before, this film delivers right up to the credits and beyond.

Brad Bischoff’s subdued drama Grasshoppers leaves a lasting impression, certain images glowing like embers somewhere in the depths of the viewer’s mind long after the credits roll.

Filho masterfully turns a tale of survival into a deeply human story about love, loyalty, and the cost of integrity under tyranny.

One definitely has to have an appreciation of the absurd to enjoy Diamantino.

It all works as a schlocky TV show. Mainly because the cast is on point, with a broad set of appealing characters generating their own stories well within the overarching silliness about the outside world.

Loaded with tons of personal stories told by both Johns (the two main members of They Might Be Giants) as well as people within the music industry.

The Earth Is Blue As An Orange is probably one of the most unique documentaries about filmmaking.

Quite possibly Clooney’s best effort to date.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

Dunn does an incredible job of condensing this extremely complex battle into a story that is simple and understandable, as well as extremely compelling.

A Good Woman Is Hard To Find is an extremely harrowing, tense movie that has such an unbelievably satisfying payoff.

The kind of film that you just don't want to end.

Mixing dark comedy and mild suspense, Dan Mirvish’s 18 ½ is not the movie many would expect it to be. But the unpredictability of it all makes this madcap political fiction thoroughly diverting.

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.

It’s only by understanding what went wrong that we can hope to recognize the warning signs next time.

Bulworth has the distinction of being the only summer movie that might make you think and for that, it definitely deserves ample praise.

At a crisp 90 minutes, Cordelia is as enigmatic as its title character for the majority of its runtime. But with its lush cinematography, archaically creepy set design, and outstanding balancing acts from both Campbell-Hughes and Flynn, it’s never muddied to the point of being opaque and remains enthralling throughout.

It dares to tell an honest history, warts and all, from its inspirational beginnings, which led me to become a Christian to its rapid decline when I learned that even the godly were imperfect people. But then again, maybe God can still use these miscreants of music.

I don't know if this movie could have been made with anyone but Chow Yun-Fat. As Chen, he finally is allowed to display the nervous energy and Eastern rhythms we associate with his Hong Kong work.

Anyone with an interest in horror can appreciate it; its primary audience is unmistakable: women who love the genre, who see themselves reflected in it, and who continue to push it forward.

The script is solid, the cast is excellent, most of the special effects are impressive too.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

When this actor (Swank) steps into the right role, she wears and inspires it like Denzel Washington.

Bunker is a gripping little thriller with solid characters and impressive visual flair.

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

Beyond the Gaze: Jule Campbell’s Swimsuit Issue is one of the year’s most compelling and thought-provoking documentaries.

At barely over an hour, Deerskin packs quite a punch, and is bound to get under your skin.