Not since the heyday of Fellini, I dare say, has there been such a merrygoround of a movie.

A rich drama that gradually evolves into a feel-good story.

Do You Trust This Computer is informative at the least. Everyone and everything comes off as credible, and the philosophy comes off as plausible. It effectively plants the seeds of paranoia.

Brian’s Song can melt the hearts of the coldest, most emotionally stunted men in the universe, leaving them sobbing in delicate, weeping hordes of sadness. It’s the Old Yeller of adult males, and no real man will ever fault another for getting a bit misty in it’s presence.

It’s refreshing to see an animated film remain true to its audience and avoid becoming a Disney-clone. Diaper-loads of fun.

It's clear right away that The Roost is no hack job. It's made by people who have a major love for the genre and generally anything that goes bump in the night.

Successful in kicking off a largely amusing and visually engaging franchise.

Incredible because for a 100 minute movie, Alexandra's Project passes like 30. Incredible also that most of those 100 minutes take place in a single living room. It's the tension and performances that pull you through, never letting your attention stray from what's going down on-screen.

It's a touching story of father and son type male bonding -- male bonding with Nick Nolte no less -- that's bound to find some audience members blubbering by film's end.

Reconfigured into a very different one-woman movie by Gibson and director Jeremy Kagan. Unfortunately, the transformation was not successful.

Dermer maintains a bittersweet tone, a gentle mix of levity and pathos. He studies the complexities of friendships, dealing with loss, looking at life as if for the first time, living each day as if it were your last, letting go, and trusting people more. He poses some intriguing questions.

I've never been a fan, but in the space of a couple hours the Woodster gives both an explanation AND the finger to ALL of his critics. This is mean-spirited fun, just the way we like it!

There is no emotional manipulation, and there are no ideological hand-outs. You almost feel like you’re watching the events unfold through a keyhole, which gives every hushed exchange and passive-aggressive examination a voyeuristic thrill.

Mehta skillfully navigates both the tender sequences and the more devastating ones. Aided by Howard Shore's rousing musical score, she portrays a beautiful country ripped apart by social violence. Her film serves as an ode to those who either died or were forced into exile for having the courage to express their true identities.

This Scottish film often pushes for realism, though its stylish tones fall back on whimsy.

Not unlike its predecessor -– might be hard to swallow, but it’s so delicious you just can’t help but want more. Not unlike one of those gobstoppers you can find in any candy store -- Hard to chew, nice to endure, if you will.

Good news is that most of the marvelous English dialogue cast from the Cowboy Bebop series has returned for the film. The bad news is that the heart and soul of the series hasn’t.

At 90 minutes or so, with the needless pseudo-artistic embellishments and tautology tossed out, Armand would have been an intense and cerebral little psychological nail-biter.

I’ve Got Issues brings to mind the zaniness of Quentin Dupieux, with a dash of Todd Solondz’s existentialism and the off-kilter freestyle nature of David Cross and Bob Odenkirk’s stuff. If you find one of the bits redundant, its brevity ensures another one is coming right up.

If you’re in the mood for some mindless zombie entertainment (pun intended), then Wyrmwood: Apocalypse has got you covered.

The adaptation of Penelope Fitzgerald’s 1978 novel The Bookshop by Spanish director Isabel Coixet (My Life Without Me, Elegy, Learning To Drive) is not devoid of plot disturbances but provides fair moments of gorgeous filmmaking and acceptable entertainment.

Saved! is just a sweet and funny movie that starts off with bite but settles into an honest feeling of happiness and acceptance for all types of people and their choices.

Hate crimes, racial tensions, economic strife, illegal immigration, and the preservation of white neighborhoods are familiar issues in this nation, but the crux of the documentary Farmingville is where these issues play out.

Surprisingly good.

Throughout Hadas Ben Aroya’s All Eyes Off Me, we’re privy to a level of intimacy not often seen.

Kitchen Brigade tells us to take risks, be brave, and cook like hell along the way. That is if you can cook. If not, just get someone to do it for you and focus on the life stuff instead.

Ip Man 4: The Finale is a thrilling end to the Ip Man saga. The action is fast-paced, and the fighting is poetic. The story not only brings a modern twist to the legend but is just as relevant today as it was in the 70s.

Director Sabrina Van Tassel does an excellent job of drawing in the audience to the labyrinthian case of Melissa Lucio.