However you slice it, this is the rare CGI movie that radiates its own kind of inventive beauty, slick without feeling plastic, and the artistry that made it possible deserves to be celebrated on its own merits.

The only certainty is Tsangari has delivered another intriguing and thoroughly original character study, which this time serves as an apt metaphor for Greece's larger problems.

I Love You Forever unfolds like a documentary to those who have lived a similar experience — and a stalker horror movie to others.

A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.

The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.

There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.

Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.

Above all else, however, Mortensen gives Captain Fantastic its underlying credibility.

It Is in Us All, a hyper-visceral portrayal of manhood in its purest unrestrained form, is anchored by the force-of-nature turn from its superlative star Cosmo Jarvis. Intoxicating to the senses, this film boasts an indomitable vitality, a zest for life so uncontainable it brims with mortal danger.

There's an undeniable genius at work here, strong enough to survive the psychedelic sleaze that's been baked into every frame.

Coen smartly plucks his cast from a rich mix of famous screen actors (e.g. Sean Patrick Harris, Stephen Root) and world-class veterans of the Royal Shakespeare Company.

Hedda’s magnetism is undeniable, and that people would be under her thrall is understandable. DaCosta and a talented team of craftspeople bolster that idea at every turn.

A furious yet resiliently hopeful documentary about white America’s long and ongoing history of colonizing the Očeti Šakówin (along with the rest of this land’s indigenous people), Jesse Short Bull and Laura Tomaselli’s vital Lakota Nation vs. United States doesn’t waste any of its 121 minutes, but it also boasts a number of moments that effectively squeeze the film’s entire perspective into a single unforgettable image.

Story comes second to Russell over the rhythms of well-timed bickering, which is a blessing and a curse in American Hustle.

That this narrative is intense and entertaining to audiences — even those unfamiliar with the fashion world — is Tcheng's considerable accomplishment.

It’s the first Sofia Coppola movie that feels — if only during its flattest stretches — as if it could have been made by somebody else, and yet at the same time it also plays like the loose and tipsy self-portrait of a maturing filmmaker being visited by the ghost of her greatest success.

If A Family Tour is sweet and more sedate than the dissident filmmaker’s previous work, it might also be the angriest thing he’s ever made. The coiled fury he displayed in “When Night Falls” (and “Taking Father Home” before that) has metastasized into a paralytic rage; his homeland’s betrayal is no longer just the focus of his life’s work, but also the full extent of his life itself.

The Rape of Recy Taylor works as both artifact and indictment.

A personal work not because the director chooses to make himself a part of the story, but rather because he implicates all of us in it.

Without any omniscient narration to speak of, the music becomes a character in of itself, connecting all the various media and many different perspectives into one cohesive whole.

With each new twist, Sorrentino is always one step ahead of his audience, building a narrative that skips along at an enthralling pace.

Last Men in Aleppo is less about finding meaning amidst a massacre than it is about people who are trying to survive without it.

The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.

Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.

Unexpected doesn't take such a rosy approach to its conclusion, however, preferring to leave things more up in the air, a narrative choice that is more contemporary in its telling and more genuine in its feel.

Glowing with García Bernal’s magnetism, “Cassandro” balances the triumphant exaltation of Arbendáriz’s singular evolution as a trailblazer who didn’t set out to become one, with the obvious, still not entirely eliminated bigotry that made his trajectory so significant and groundbreaking in the first place.

McQueen’s gripping true-life drama compensates for some of its more heavy-handed beats thanks to Boyega’s staggering, career-best performance and the fiery tone that surrounds it at every turn. The movie is both a ferocious indictment and a call to action that embodies Logan’s cause, even if it’s doomed from the start.

This raw and lingeringly sensitive film resonates more strongly when it’s lost in the ice maze than when it’s tracing its steps back to the entrance. The Breaking Ice sticks with you because it doesn’t lead its characters out of the maze, it just melts down the walls between them.