See the true story of Sister Helen and her band of weary men now.

Even the harshest critic has to recognize the sheer unbridled joy of their ignorance.

For those who have read any of the McDonald adventures with the reporter (there are nine, not including the “Son of Fletch” novels), Confess, Fletch feels much more authentic. Hamm is given one of the biggest sandboxes yet for his talent and he pulls it off. Here’s hoping for future chapters.

Suitable Fresh is wild and weird, but it has something to say beneath all the kinks and mind games.

Bonjour Tristesse is a rich experience in more ways than one, while it also burns beneath with a rising secret fire. Give it some patience, and it will give you an unforgettable experience.

Meet Me in the Bathroom is a moving memory of each band and their legacy in a larger musical landscape. It captures the ethos of each artist and is an excellent visual companion to Lizzy Goodman’s oral history.

Princesas isn't the cliché "Pretty Woman" type romantic-comedy you'd expect – it's actually quite surprising.

It’s not perfect, but it’s unforgettable. Call it a miracle, call it a parable, call it cinema that dares to believe.

Well-executed and thoughtful, it is a solid film that is culturally relevant and enjoyable to watch.

This is not just another Beatles documentary. It is something in its own category. This is someone’s love story, a very beautiful one.

Especially to anyone with kids, the film packs some punch. Apart from that, The Pursuit of Happyness is emotionally manipulative and way too glossy to really hit home.

Wolfgang examines the life and game-changing career of Wolfgang Puck in a visually engaging and charming way. While it repeats itself every so often, the food on display is delectable, and every interview is a trove of information.

It’s impressive that Bombshell is able to discuss all the issues at hand all at once.

The art direction finds a new identity, the music by Radiohead’s Thom Yorke could easily be held up against the predecessor’s soundtrack by Goblin, the story makes sense, the performances are all on point, yet, without the glorious murder set pieces, we wonder why we are watching, to begin with.

1408 isn’t great cinema, but does an adequate job in spite of its flaws.

It's brainy and brilliant, but despite amorous overtones and a few good action set pieces, it just doesn't generate the thrills or romance that would have made it a true classic.

About as much fun as a grouchy ayatollah in a cold mosque.

Not an incredible disappointment, but it could have used some more work in making us remain curious about these characters and what their next course of action would be.

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.

Chokri’s work has a pulse that beats so hard it could split veins. Yet, it remains in a reality that is vulnerable to suddenly wacky quakes.

The Europeans expects you to meet it halfway. When you do, you’re rewarded with a story that’s rich with complicated emotions, despite its self-confident exterior. It’s like its characters in that way, and also in the way, it thinks highly of itself and presents itself accordingly. Modesty never did a movie good.

The end result is stale, clumsy, and about as compelling as an average episode of "As the World Turns."

Hardy and Nachman’s film is the uncommon near-perfect documentary: the filmic elements fade, done so well the viewer focuses on the dogs and their journey. All of this leads up to the tremendous joy of freedom and partnership for those whose lives are transformed by their new guide dogs.

Approaches the serial killer archetype in a tremendously unique way. It turns the old stand-bys on their ears and gives a fresh perspective on the genre.

Laugh hard, laugh long, but just laugh at true greatness. Parker and Stone have done it again, multiplied millions of times.

Director Sam Dunn weaves wonderful mythology that leaves you happy for the band’s longevity and ready for more from the sharp-dressed men.

The result, while flawed, is glorious: majestic, atmospheric, visually stunning, led by two charismatic leads. Scott, at 86, shows the young ‘uns how it’s done.

In other hands with another cast, You Kill Me might easily have proven just another modest production indulging in mob violence and postmodern irony. There certainly is no shortage of those. Dahl’s latest, however, is something more than a modest production. It’s a small wonder.