One of the most troubling views of the human race I've seen in years. Luckily for us, its depressing, almost pathologically ironic vision is redeemed by the sublimity of Solondz' filmmaking. I first saw the film at Cannes last May and it's haunted me, both for its nastiness and its brilliance, ever since.

It always surprises, never bores. It's also just damn good, on every possible level -- so go see it. Now.

It was a bleak allegory -- a desperate, sullen, and moderately sick tale.

Uniquely fascinating.

Conveys not just a joy in music and The Beatles, but a joy in cinema.

A movie with the power and quality of dreams, where reality merges into symbolism and oddly juxtaposed elements crystallize into a single, electrifying whole.

A damn near perfect film.

A fantastic, sleek and fun satire.

A mix of forward-looking sci-fi, classic themes, deft plotting and superb writing and direction, Edge of Tomorrow may be the pure-pleasure blockbuster to beat this Summer.

The emotions the Shinoharas’ story inspire are all over the road. It is at times triumphant and warm, then sad and even enraging.

Like the best of fiction, it conveys greater truth about coming to terms with the world at large, and regardless of whether each individual scene is ultimately justified in its inclusion, the cumulative impact of seeing something resembling a life unfold over a mere two hours and forty minutes is overwhelming.

It’s a character piece, and one of the best and most understated movies I’ve ever seen about the grieving process.

Stray Dogs pushes Tsai’s cinema of laissez-faire long takes, performative observation and pangs of regret and loss to their extreme.

In a World… is pretty much a perfect movie, chock full of fun, endless laughter, realistic love and that all-important magical movie ingredient — originality.

The fact that Cuarón’s film strives to be something more than thoroughly harrowing — no small feat in and of itself — solidifies its existence as a marvel of not just technical craft but sheer imagination as well

Only Lovers Left Alive is an exhibit A example of how to use style to enhance substance, not overwhelm it.

The genius of Kikuchi’s performance is that – by the end – her slow descent into mania humanizes Kumiko precisely when it would have been so easy to reduce her into caricature.

It proves that the screen is the place where a memory can be reborn.

Chandor delivers pure cinema. Thrilling and adventuresome, this is a career highlight from the uniquely sympathetic Robert Redford.

He’s taken what, on paper, boils down to an extra ridiculous episode of “Law and Order: Criminal Intent” and passes it off as high cinematic art.

At 76 minutes, Caesar Must Die is more of an art piece than a thick steak of a feature film, but it maintains a fascinating hum from start to finish.

Some provocative filmmakers seem intent on irritating or turning off the audience. With Haneke, I get the feeling that once you understand what he’s up to, he’s glad to have you in on the joke. He certainly goes about executing it in a masterful way.

[A] blend of classic sci-fi fare and current pop-culture irony is what rockets “Guardians” into the stratosphere.

Stars the cult celebrity Om Puri, widely considered by cinephiles to be one of the best actors in the world.

Cage again proves himself the most fearless actor now working in movies.

One of the things that makes Traffic so very good is the wry humor that's laced throughout the film. It's a funny movie.

One of the best films seen in many years about the mysterious workings of time and memory.

What's best about the film is not the hot romance, but the coldness that lies at its heart.