Gavin Rothery understands that filmmaking is a visual medium. The story of Archive is told through pictures as much as dialogue. In some of the most effective and integral scenes, no one is talking. Archive is an old story told well.

The Old Ways is a masterpiece that shows how great horror will be done in the future: swiftly paced, engrossing and terrifying.

Like a good rock record, Brothers of the Head isn't easily explained. But its original fusion of real and surreal will cling to your cranium for years.

While PP does contain the lesbian-toilet-poo-poo-homo-butt kind of humor you would expect, (Ba Ba Booey) underneath that, there is a real movie there with fully developed characters and engaging conflict. It's an absolute must-see.

With Adult Swim Yule Log, Kelly delivers a new dimension in seasonal insanity, and won’t the kids just love it? Just slide your arm into the crazy stocking until you hear a click.

Not enough can be said about Cage’s performance. He truly has shaken off all pretense of self-consciousness and can just go “full send” on playing frustrated hysteria and sheer unabashed lunacy. He is simply unmatched and fearless in this type of role. He has elevated shrieking madness to pure art.

Yiddish Theater: A Love Story is a slight but moving documentary focusing on the final performances given by Zypora Spaisman, the Polish-born star of New York’s Yiddish theater.

The story was painfully dull to me, and the entire thing (aside from the aforementioned storybook sequences) takes place in a dull looking school setting with hardly any change of scenery to break up the dreadful monotony. As far as the story goes, it’s a painfully basic story about two friends growing apart from one another. The drama here is as low-stakes as it gets.

The Life of Chuck takes a moment for its storytelling technique to be fully understood. But the plot offers intrigue, drama, and mystery in one compelling package.

The Paper Tigers presents a fresh take on an old genre.

It’s a delightful comedy about some of the darkest stuff we can go through as humans, which can only be pulled off by certain writers and directors. Gus Van Sant is definitely one of them.

An oddly sweet little tale, and easily Ferrell’s most enjoyable movie in recent memory. And even though his onscreen chemistry with Gyllenhaal fills me with murderous rage, this film goes a long way towards erasing the memory of his more obnoxious roles.

While it trades sprawling vistas for tighter set pieces, it brings Ethan Hunt’s story full circle in a way that’s surprisingly emotional and—dare I say it—earned.

The Shadow of Violence has interesting things to say about violence and, ultimately, how far you would go for your family.

The movie suffers greatly from very uneven pacing, a bloated run time, and an underwhelming villain.

The set design and production value are top-notch, which makes it even more jarring that the production sounds so modern and American. It is taken to such extremes as to be its downfall. It somehow seems less believable because we’re ever aware of being manipulated. It is a shame because, in this case, the real truth was so much stranger than fiction.

Lough has attempted impartiality by showing both sides without overtly stating a position. Either side could interpret the film as presenting evidence supporting their ideology. This both works and does not.

Director May El-Toukhy paints an engaging, uncompromising film in bold strokes, never looking away or shrinking from Anne’s boldness to act on her desires, or her willingness to remorselessly do whatever she must to restore the status quo of her life.

A low-key, warm-without-being-schmaltzy childhood adventure story that will engage younger viewers without driving their parents too crazy.

Medusa is an electrifying work of art that elevates its already elevated pop influences, a transcendental tableau of the true-life horror of female oppression.

The Darjeeling Limited isn't so bad as to offend those who love Wes Anderson too much, but it is not the triumph that his previous films have been.

The concept is intriguing and the car chases are pure adrenaline.

While The Last Tree is not a happy story nor a political one, it is a real account of immigration with no easy answers. Watch it because it is an honest tale, and Amoo’s masterfully handling of it puts you directly into the shoes of Femi himself.

Aside from having some great animation, the writing is funny and clever.

War is chaos and confusion even under the best of circumstances, of which this current fiasco clearly ain’t. The Prisoner… underscores this fact, as well as muddying up the waters on such commonly accepted platitudes as "Support the Troops."

Even with its amateurish presentation and off-kilter action, Dolemite is far more fun than a good many of the high-stakes, high-budget films that the big studios roll out every month or so. Personality goes a long way.

The ingredients were there for Confessions of a Dangerous Mind to become a cult classic, but the resulting film is a tedious Hollywood yawner.

Not enough to hold the audience's interest, especially with such shallow simpletons as these two women in the leads.