A superb exercise in economical filmmaking. Not only from a financial standpoint, as the film was shot in HD and on-location in gorgeous Portland, Oregon…but the story here is so subtle and well drawn, if you blink you might miss it.

The movie is quiet and minimal in its dialogue, and it has flashes of humor and thoughtfulness. However, it's also unbearably slow and hard to empathize with Mikey when we don't really know what his problem is.

What they produced is something that is true not just to this place or to these people's lives, or to the lives of poor people or black people, but to the experience of being human.

Speaking as a reviled straight male, I would say that the only true saving grace about this film is Penelope Cruz's performance.

The film is a brisk, engrossing narrative that weaves this story with engaging dialogue, incredible one-liners, and the kind of slow burn that any good neo-noir film should have. But what makes Widows so unbelievable is its trust in its players, the viewer’s intelligence and savviness, and a bevy of technical moments.

Mapantsula is timely and relevant 35 years later.

Tom Mercier’s performance is brilliant and engaging.

The thematic development is a clever move on the filmmaker’s part, though the plot’s revelation comes as a heavy blow, not swift enough for the film that frames it.

Matthau should get points for allowing himself to be filmed as such an unlikable cuss, and Vic Morrow, as usual, is just short of psychotic.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

A wholly entertaining film, both as a musical experience and in seeing a fairly relaxed Dave Chappelle doing some of what he does best.

The vision of life’s twilight years presented in the film is frank while still remaining expansive.

It’s a challenge that may ultimately be gratifying for the right audience — just make sure you have a comfy chair.

As a piece of acting, The Quiet American represents a fitting capper to Caine’s illustrious career; his portrait of a jaded sybarite whom history nudges into conscientious action is among the year’s most moving.

Offers the Iraqis a rare chance to share their anger and their lives with the outside world. The resulting production is a raw and powerful film that demands to be seen.

Echoes Eastwood’s previous exploration of true-life violence, “Unforgiven,” by tracing how death and depravity stain one’s life for generations, leaving seeds to take root in each branch of a tainted family tree.

Look at Therapy Dogs as a cautionary tale, one bound to horrify unaware parents. Eng doesn’t seem to give a f**k whether you respond to it or not. Good for him.

At once an astonishing feat of advocacy filmmaking and a white knuckle eco-thriller; think Michael Moore meets Michael Mann.

As we toss around words such as "dark," "stylish," "brooding," and "tragic" along the road to perdition, I recommend a three and a half hour pit stop in 1950s Milan.