A terrific feature-length cartoon.

Fruitvale is outstanding, a telling portrait and testament to the life of one man and the complicated relationships to race and class that still exist within America today.

The fact that this film, so sensitive to woman's plight, was made by a man is perhaps cause for a little hope.

Quite a spicy brew.

For all its occasional long-windedness and visual dazzle, Brazil may be the "Strangelove" of the 1980s.

Hilarious and often moving.

If it is never really as profound as it seems to think it is, American Beauty is consistently entertaining, and it earns points simply for acknowledging that all may not be perfect in the current boom years.

It does a marvelous job at giving us an impressionistic taste of horrific circumstances without using them to beat us into submission.

All these years later, the film is far more infuriating than it is exciting.

Funny, expansive, and a delight to spend company with.

Snowpiercer is bold and brutal and committed, but no setting, no matter how inventive or beautiful, can compensate for storytelling that strains plausibility even as it batters your senses and sensibilities.

The textures are detailed, the movements are realistic and the three-dimensional feel even improves on the humor -- you may think you've seen every good "Matrix" parody, but you haven't until you see this.

An exquisite trio.

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

A surprisingly vital film.

The titillating sense of out-of-controlness provoked by the camera is echoed in the film's narrative situations, and you simply, and deliciously, haven't a clue as to what he's going to throw at you next.

It’s unlikely anyone who sees Blackfish will be trekking to Shamu Stadium this summer.

A well-polished production with a remarkable soundtrack.

Perhaps the primary reason A Room With a View is so involving is that Ivory has cast the film perfectly, and given each of the actors ample room to breathe. Even the characters you're not supposed to like are allowed their moments of vulnerable humanity.

Just plain funny, loaded with joke after joke and pun after pun.

I recently heard someone describe Gloria as a midlife-crisis drama, which stunned me. In the most convenient terms, I guess that’s what it is. But what Lelio and Garcia pull off here is so delicate and sturdy that it defies such easy categorization.

An emotionally punishing experience.

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

Under the Skin is a deliberately oblique piece of work that prizes rhythms and textures above hows and whys.

Wickedly funny, scathingly original new comedy.

Despite the first-rate acting, the narrative is the star of this show, so much so that you feel yourself occasionally losing interest in the travails of the characters. Instead, you hang on every word and every tiny object, every cut and bruise in the frame, looking for clues that will help you make sense of what's going on.

Furiously uncompromising, and therefore absolutely alive.

Might be the single most beautiful documentary of the year.