To eavesdrop on Bernardo Bertolucci, Stephen Frears, Ken Loach and John Sayles, as they talk politics; David Lynch and Todd Haynes, discussing inspiration; and Catherine Breillat, Agnès Varda, Richard Linklater and Liliana Cavani as they riff on controversy and aspiration, even for a little while, is a real treat.

Most of all, she (Zemeckis) brings generosity and compassion to the Hiltons’ tragic story.

The way she (Blanchette) anchors this superb dramedy is a thing of beauty.

As in "Purple Rose," the film works best when tweaking the disparate worlds thrown together, though "Midnight" is frothier, and so Wilson shines.

This film's only real stumble is its ending, which is so predictable it seems like a bit of a copout.

Young Adult may at times be stuck between emotional gears, but that's by design. Like its heroine, the movie refuses to pick up after itself.

Benjamin never questions his fate and ­never actually gets to enjoy being a kid. At least there's a thoughtful middle part, where the enigmatic Blanchett comes alive and Benjamin seems haunted by life -- someone we recognize, and not just a vessel tossed about by time.

It still marks Del Toro’s strongest work since “Pan’s Labyrinth” 11 years ago. It is an homage to classic cinema, albeit a slightly quirky one.

Nichols approaches his subject with thoughtful empathy, and while his themes are enormous - he's addressing no less than the state of our nation - he wisely underplays even the most important moments.

Here, in his best performance since "Spider," Fiennes plays the snarling, entitled general Caius Martius Coriolanus, whose bloody brow and bald head are stained with what's left of his soldiers.

Has a mature tapestry of characters, a welcome sense of humor and, most crucially, a lovely Juliette Binoche.

Blunt has never been more relaxed, and she and Segel have a believably warm chemistry. It's also nice to find a romantic comedy with so much respect for both its leads.

Delightful proof that money and fame have nothing on ingenuity and wit, Safety Not Guaranteed is worth a million meaningless blockbusters.

These characters are stripped bare in every sense, reflecting an extreme degree of inner confusion, vulnerability and fear. Betrayed and broken as children, they now have to define and rebuild themselves as adults...Sissy turns a nightclub rendition of "New York, New York" into a heartbreaking plea.

For those who enjoy the goriest of thrillers, there is plenty of red running through Green Room.

As the cracklingly cool The East shows, they’re the real deal. It’s not easy to make a thriller where brains and guts are so clearly in cahoots.

Margaret - titled after a poem - reflects its adolescent subject with striking accuracy. It can be frustrating and self-important, clumsy and naive. But it's also passionate, curious and filled with insight, so unafraid in its ambitions that even the flaws are interesting. Every bold vision requires respect; a few deserve celebration. This is one of them, imperfections and all.

Rahim and Arestrup are both so outstanding that if this were an English-language film, they'd probably be nominated for Oscars, too.

The actors click into high gear, and Premium Rush delivers.

Gibney puts mystery back into a story we thought we knew.

There can never be too many stories of human grace and perseverance like those of Nova, or Nate, or Adam, all teens who've been encouraged to channel their resentments and desires into art.

For the Love of Spock is ultimately as much of a love letter to other Trek fans as much as one to his own.

The late King of Pop delivers.

Right now, he's the perfect "Avengers" antidote.

Creed packs a mighty punch.

Eddie Redmayne’s enthralling star turn as a transgender pioneer in The Danish Girl affirms his status as an ace cinematic chameleon — a transformer who rivals Optimus Prime. If only the movie wasn’t quite so polite.

“Let’s go for a little ride,” teases Vin Diesel as Dom Toretto at the start of Fast & Furious 6, an amusingly mild suggestion that’s also the only moment of understatement in two dizzyingly high-octane hours.

The result is a visual treasure that successfully blends deadpan quirkiness with a wry realism rarely seen in any film, let alone one for children.