Clooney has finally made a GOOD movie.

A surprisingly fresh take on familiar material.

Higuchi’s knowledge and commitment to the lore, franchise, and Toku genre make Shin Ultraman a must-watch for fans. The film balances classic tropes and introduces new characters in a format allowing any newcomer an ideal entry point into the many Ultra-verses. It’s a masterclass on reintroducing a beloved character while keeping the overall legacy in mind.

The Truffle Hunters is about sustaining tradition in a world that seems to (d)evolve too fast. It's about mortality, but it's never morbid. It's about fungi, but it's never dull. It takes you away from the hustle and bustle of the contemporary, social-media-driven society and plunges you into the woodsy stillness of Northern Italy. You don't have to love truffles to crave a little bit of that beautiful solitude.

The problem with the film, despite the genius of craftmanship and cinematography, is that the film doesn't really have anything new to say.

From the film's opening moments you won't be able to guess where the whole thing ultimately ends up and that's one of the many endearing qualities of Revanche.

This is a very simple story, but it builds beautifully to an endearing and witty romance.

It’s a good film…a better version of the Coen Brother’s Hail Caesar! A film that kept popping up in my head.

Farewell My Concubine is a tragic and poignant story in every sense of the world. It’s a tough watch, dramatically, as there is darkness in this classic film.

Michael B. Jordan and Miles Caton deliver incredible performances in this soulful, bloody tale that masterfully marries blues, vampires, and the vibrant spirit of New Orleans.

It’s refreshing to see intelligent teens (Molly and Amy nonchalantly switch to conversing in Chinese at one point) in a film that doesn’t resort to easy, scatological humor for laughs. In a world mired by conflict and dark entertainment that mirrors it, Booksmart takes a somewhat radical approach by endorsing a bit of light-hearted anarchy.

Writing with Fire accomplishes what any good documentary should—it allows the viewer a visit a world that they might never even have known to exist.

It empowers Chinese citizens while also shining a light on the exploitation and oppression they face in the workplace and job market.

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

Yolande Moreau's most impressive costars are the extraordinary compositions of Seraphine Louis.

Stripped away off all privileges, a shell of a human remains, a carcass, and that glimmer of hope that keeps one going is the driving nucleus of the lyrical and timely To a Land Unknown.

A modern-day Apocalypse Now, a visual and aural trip that’s as abstract and surreal as it is stark and realistic, Sirat urges us to embrace each other, as the world swells and throbs around us.

While the audience has its laughs along the way, the violent tension of war often threatens to erupt, and slowly, subtly gathering force is the film's emotional weight, which is potently felt by the film's indelible (if not exactly unexpected) concluding image.

Not only the best I've ever seen, but also the Indian film that'd be most accessible to a Western audience.

Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.

Forman’s classic has not aged one bit. In fact, it’s become more relevant than ever, considering today’s tumultuous climate.

Beauty aside, Toy Story 4 captures the heart of the entire saga in its own way.

The faux-doc/tone-poem hybrid My Winnipeg is a worthy product.

On the Record has so many beautiful instances of artful storytelling.

What starts as a standard marriage drama becomes infused with dread and building tension. It’s never easy to pinpoint the root cause, though it goes well beyond the usual verbal conflicts one sees in standard dramas. As the story progresses toward its tempestuous conclusion, one gets Bergman-esque vibes mixed with modern sensibilities. It’s truly a singular experience.

In My Room has a The Last Man on Earth and The Walking Dead feel (don’t expect zombies) and definitely has some surprises. Do all the surprises work? No. But most do and that works.

Kids will get a kick out of it (provided they’re old enough to read subtitles), and adults (parents, especially) will embrace the detail that goes into portraying the complexities of parenthood that are often glossed over by many.

As a movie, I thought Jon M. Chu did an incredible job bringing In The Heights to cinematic life. There’s nothing wrong with the actual production or cast. It’s all great, but my issue is with the source material, specifically the songs.