What we remember are the visions of genius and the total turkeys. Rarely do you get both in the same movie, but director Tim Burton pulls it off in this oddly affectionate bio-pic of Ed Wood.

In a film about how hard it is to know what you want, and then to express it, Swanberg gets to the heart of the matters of the heart with disarming doses of both charm and wisdom.

Sunshine's historical reference-heavy narrative walks a fine line between novelistic tragedy and comically overstated melodrama, falling down on the job more than once.

Taylor’s film so egregiously picks and chooses from Brown’s life that the result is a holey and unsatisfying document that fails to give due respect to much of the singer’s life (especially the more unsavory stuff).

Rarely a moment is ever wasted, a consequence ignored, and though the climax is a corker, the final shot is even better. Prisoners requires and rewards your attention in equal measure. Be ready.

A crowd pleaser, but there's something a bit prim and pre-determined about its conclusions.

Quills -- like the Marquis himself--is a posey, pungent, ultra-theatrical yet weirdly seductive mess which wants to have its cake, eat it too and discuss the whole concept and context of its meal (constantly, contradictorily) while it does so.

The nuanced performances by Maud Forget and Lou Doillon help give Bad Company its extraordinary credibility.

Hamlet, like its title character, is a mopey, dopey thing that you just want to scream at: Do something!

An instantly and enduringly compelling documentary.

Too slow-moving and too understated in much of its humor.

For fans of science fiction...Galaxy Quest is a sweet, funny valentine to their obsessiveness.

But the movie is so confused about where it wants to go, it suffers from the same identity crisis as its protagonist.

A superb tearjerker in between beautiful bluegrass ballads.

Kusama understands her subject intimately, and it shows.

Captain America: The Winter Soldier neatly and entertainingly puts into motion some big changes in the Marvel universe, while still sticking to its own charms — no easy feat, but one fit for a hero.

As with Bill Clinton himself, Primary Colors forces one to take the disappointing with the good, the letdown with the promise, the compromises with the hope.

Questions loom heavily over this entertaining but not-too-deep film, making it more a commercial than real exploration.

Gitai, a veteran documentary director, refuses to find an easy resolution to the story, and that will frustrate as many people as it pleases.

Unfailingly energetic, 10 Things is like a puppy that can't stop wagging its tail, begging for attention...Even more than "Cruel Intentions," this movie plays like an awkward high-school production of a classic.

The design of the film is wonderful, the animation everything one comes to expect from a Disney picture, and the jokes fly by so fast.

Post Tenebras Lux works so well because – even at its most random – it always feels like more of a single portrait of a man in crisis than it does an impish bouquet of provocative incidents.

The evidence Herzog serves up is impossible to dismiss.

Swanberg’s most mature and satisfying film yet.

Palo Alto is one of the best movies ever made about high school life in America (admittedly a low bar), blurring the lines between how unique it is to be a teenager, and how universal it is to feel like one.

For all the cynicism on the soundtrack and the occasional lapses in tone, this is a remarkably generous comedy.

In the end, Butterfly is an infuriating film because it's so very contrived, so annoyingly phony.

The Fog of War is the superior film, but The Unknown Known is more unsettling.