Much like the dynamite ladies that Mumolo and Wiig wrote and refreshingly bring to life, Barb and Star Go to Vista Del Mar is shimmery, vibrant, and as welcoming as a great big hug.

Twinless delivers a sharp take on grief, deception, and unlikely connections. Characters are pushed into situations both painful and oddly tender. By the end, the film leaves you squirming but fully invested, proving that even the strangest setups can lead to an emotionally devastating payoff.

It shows just how much can be done by a single actor on a single set with a filmmaker full of determination.

Higher Learning is John Singleton's interracial state of today's campuses version of School Daze minus the musical numbers. Surprisingly, it's just as much a gang movie if not more than Boyz 'n the Hood.

The movie’s ability to flirt with the familiar and completely turn it on its head is what keeps Psycho Goreman so perversely fresh and fun throughout. It never once betrays its dark heart and continually trots out practical creature effects that tumble out of a GWAR nightmare that keep it engaging, unique, and deliciously deviant all the way to the closing credits.

I think this one of the first King movies to legitimately give me the creeps.

A lack of flash or energy does nothing to detract from the sheer depth of film exploration present in The Story of Film: A New Generation.

Aggie is a film every art center in the country should show to its supporters and community as its positive message is inspiring, aspiring, and beautiful. Aggie is a film about someone with imagination, and art requires imagination.

Little Deaths is an engaging little thriller with a great ending. While there are a few scenes that don’t wholly work, Romeo and Leotta keep viewers engaged thanks to their performances. The stellar music stands out as well, as does the final sequence which is more moving than expected.

However homespun The Fabulous Filipino Brothers might feel or even appear, the film has a certain charm, which many will enjoy.

The conclusion is not completely earned by the end credits, but Minor Premise‘s aspirations are far greater than movies with much larger budgets and star power.

The amazing thing about Venus is that it's brutally honest about all this but at the same time funny as hell.

Scene after scene blends masterfully with the work of Ohwon’s paint brush, and the power of images and symbols reveal not only a great artist, but also a pivotal era in Korean history.

Lacôte’s second directorial feature, Night of the Kings, is an epically ambitious undertaking, roaring along on several parallel tracks, with a dizzying number of sub-stories to track. The world inside MACA prison is a complex, layered cultural and political system.

Unfortunately, this horror gem won't even receive the same fate as a crappy "Children of the Corn" sequel, that of ending up on the back shelf of the local Blockbuster. This all but guarantees, that some kid won't accidentally come upon it and scare the crap out of himself. And that's just sad.

The movie is fun, and hilarious, because of its child-like whimsy.

Economic struggle, crime, intimidation in a variety of forms, and, above all, the lack of affection and joie de vivre, are factors strongly influencing the course of the story. Hu Bo, who could have been a true artist of the cinema, put his spellbinding camerawork at the service of a brutal social exposition with plenty of anger and frustration. The effect is intimidating but very real.

See Scratch for the history, see Scratch for the music, see Scratch for a lesson in scratching, but, most of all, see it for the passion.

The spontaneous performances of the duo are half the battle for the success, but definitely, Ms. Israel is also influential and decisive as she merges both the comedy and drama genres with gracious artistry.

Roher is profoundly lucky to have been around when Navalny’s harrowing story needed to be told, and so are we.

It’s all deeply unsettling, a glorious massacre you can’t look away from. Kill It and Leave This Town dares you to avert its gaze. You may not be able to describe it, but good luck forgetting it.

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

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

Rounding doesn’t offer answers, but it does offer a deep, unsettling dive into the fragility of the human mind and just how far someone can go when pushed to their limits.

Blade is just good, plain action movie fun. It runs like a smooth roller-coaster and has excellent replay value.

Red Snow is a lot of fun. The two leads are well written and excellently performed. The jabs at traditional vampire lore prove to be most amusing. While it never becomes creepy, the film still is an absolute blast from beginning to end.

The funniest buddy movie ever and a generally daffy one at that. It features some of the most genuinely stupid and amusing tough guys in the history of cinema, and a tantalizing slow burn by Deniro.

Fabian: Going to the Dogs is poetic, ugly, romantic, tragic, and side-splitting. Some sequences approach the edge of sanity, take a glimpse into the abyss, then the plot reassembles itself – but the threat of derailing remains, and it’s quite exhilarating.