It isn’t surprising how warm and enjoyable Life Itself is – James is a singularly talented documentarian who literally owes his career to Ebert, and Ebert approached the facts of being filmed the same way he faced films, or for that matter faced anything: With honesty and good humor.

Though its uncluttered simplicity and refreshing lack of cliches render it sublimely enjoyable, the film never digs deep enough to give itself much weight.

Murdoch’s film is fraught with ambition and aspiration, but a little thin on talent and technique.

Good luck finding a modern martial-arts epic that can even hold a candle to it.

Here is a pitch-black psycho-horror-comedy to restore one’s faith in the “What the eff did I just watch?” genre.

Swanberg’s most mature and satisfying film yet.

Listen Up Philip is big, sprawling and tortured, if a little lacking in focus – while funny in parts, it isn’t really a comedy.

I Origins is about on-par with “Another Earth,” but it’s still disappointing that a film so obsessed with the eye has such a fuzzy, blurred vision of what it wants to do.

For all of Krauss’ clearly good intentions, the film still falls staggeringly flat, even with the inclusion of a bold and unexpected performance from Vanessa Hudgens, doing her damndest to break out of the Disney mold and turn in actual work here.

This long-distance love story is comfort food in any language, perfectly agreeable and unlikely to surprise.

Throughout the picture you understand the miracle and good fortune of finding love, and recognize the great changes in tolerance American society is currently (albeit slowly) undergoing.

[An] unusually unromantic approach to music education is one of many noteworthy things about Whiplash, a funny, exhilarating drama — bordering on psychological thriller.

While the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.

With its painfully plain-spoken conflicts and eventually oversold gestures of kindness, Camp X-Ray may offer frustratingly little insight into the hazy world of wartime morality, but if nothing else, it suggests that Stewart may escape her own “Twilight”-shaped prison yet.

Superbly written, handsomely made and full of terrific performances, Laggies is Shelton’s best film to date.

Ride Along is a strong recommend when Hart is talking, but merely a mediocre attempt at a movie when he’s not.

An instantly and enduringly compelling documentary.

Relentlessly awful.

A masterfully queasy blend of dark humor and darker humanity.

Ultimately seems at war with itself, torn between its duties as an entertaining, engaging movie and a somber, sincere memorial, and in splitting the difference, the film effectively assaults its audience almost as aggressively as its subjects.

While the art of action filmmaking depreciates, Harlin remains steadfast in his classicism, even if the movie doesn’t have the foundation to support him.

The Double taps into a deep reservoir of psychic turmoil even as it navigates the script’s abundant jokes, and the nightmare of the heart of the film is doubtless universal.

Where The Banshee Chapter thrives is the overwhelming claustrophobia of the film.

The movie on its own is great, but with this music it's sublime.

A gripping, fascinating and visually arresting memoir.

Like a swollen boxer's eye, it should have been cut.

An emotionally punishing experience.

It never quite elevates itself above something like a really well produced behind-the-scenes featurette on a high end Blu-ray. But if you’ve got that Jodorowsky T-shirt aping the Judas Priest logo, you may as well start lining up now.