Mixes fact and speculation in a way that's already raised the ire of some on the right as well as on the left.

Black was already the world's biggest little kid, and he might be the only actor who could have made this movie such nimble fun.

This indie, female-centric riff on “Deliverance” is spare, smartly written and shot through with moments of twig-snapping tension.

The issues are complex and not easily solved. But no matter which side you are on, you'll be moved by this intimate work.

It's a bit less good than McCarthy's earlier films -- Jeffrey Tambor has a large, superfluous role that abruptly disappears, and Ryan, a fine actress, makes a less than entirely convincing spouse for Giamatti. This one is a crowd-pleaser nonetheless.

The house itself - which walks down the street in one impressive scene - is memorably voiced by Kathleen Turner.

The film's most memorable performance is by Eamonn Walker, who is scarily good as the singer known as Howlin' Wolf.

Dutch-born Lotte Verbeek is solid as You, a role that won her the best-actress prize at the Locarno Film Festival.

Delivers plenty of smart dialogue and devises a number of excellent reasons to photograph his cast in situations that suggest the working title for the film might have been "Women in Underwear."

Cross “Dog Day Afternoon’’ with “The Big Short’’ and throw in a dash of “Network’’ and you’ve got Money Monster, a clever financial thriller with comic overtones that’s a solid investment of your time thanks to stellar work by George Clooney and Julia Roberts.

Satisfying, well-acted drama.

The film is a loopy, family-friendly jaunt, with a perfect "Wizard of Oz" finale that isn't in the book, but like the book, it suffers from a chronic plot malfunction.

Honor Among Thieves is a useful reminder of something that’s been forgotten in the age of dense film universes and ultra-violent action films: Light-hearted adventure movies like “The Princess Bride” remain the perfect vehicle for humor, romance, fights and special effects. When done properly, as Dungeons & Dragons is, they give audiences a full-bodied experience that’s hard not to like.

Better than decent. But if Stallone (who wrote and directed the flick) had pulled a few punches to the heart, it could have been truly worthy of that first, glorious movie.

The lyrical The Road Home is less political and less flashy than some previous films by Zhang Yimou.

The film, directed by Chloé Zhao, is an awards-season favorite, and it doesn’t let you forget that for a second. Beneath the veneer of prestige, however, is a prescient and affecting story of a lost American class: van dwellers.

It would be a crime in itself to reveal the surprises of Nine Queens, which provides two solid hours of corking entertainment.

Exploitation pure and simple. But it's artistically redeeming exploitation. If you can handle it, see it.

The Agronomist uses archival footage and music to tell a moving story that's all too common in the Third World.

Following the start of the war crimes trial of former Bosnian Serb leader Radovan Karadzic in The Hague, the release here of the political thriller Storm couldn't be more timely.

At once, a joyful celebration of female friendship and an unusually honest look at newly responsible young women wistfully saying goodbye to the dreams of their youth.

Martin's most adventurous film in many years, may be next best thing to a quick shot of nitrous oxide.

In an effective touch, Kisses opens in black and white, changes into color for its Dublin scenes, then returns to monochrome.

Unpretentious and unexpectedly moving.

The filmmakers wisely avoid the temptation to be cutesy (remember that penguin movie?) and sentimental.

Decent movie, same old Borat.

There are moments of brilliance, like a claymation sequence that manages to simultaneously send up '60s holiday cartoons and "Ghostbusters'' (with Frosty the Snowman instead of Marshmallow Man).

It's a tribute to the sheer professionalism of this crossover charmer that it holds your interest for two solid hours.

The real star of The Son isn't lead actor Olivier Gourmet. It's the back of his neck, which the camera obsessively focuses on throughout this difficult but rewarding Belgian drama.

Besides terrific performances, it boasts terrific cinematography by Giles Nuttgens that contrasts stunningly beautiful and grimly ugly Scottish landscapes - complementing the hunky Joe's ugly soul, which manifests itself in a truly nasty sex scene involving pudding, catsup and Cathie.

A solid documentary that examines the art's roots, from ad-libs by black preachers to "toasts" delivered by Jamaican immigrants over instrumental tracks in the '70s South Bronx.

Forget the plot of Ocean's Twelve - you will by the time you leave the theater, if not sooner. This slickly entertaining sequel is all about savoring eye candy.

The three are appealing characters, and you can't help but root for them in their quest, which gives a whole new meaning to the term "family values."

Kosashvili's clear-eyed approach to the cultural tradition of arranged marriage balances respect and scorn, and he reconciles the comedy and tragedy inherent in Zaza's tug-of-love with finesse.

Movies don't come any more charming than Mongolian Ping Pong.

The gimmicky title is doubly misleading: The Disappearance of Eleanor Rigby is neither a mystery nor Beatles-themed, but it is an elegantly wrought tale of anguish.

While it is obvious that the filmmakers went into this project with an agenda, they did try to give each side a chance to have its say.

While this slow-starting update of "Private Lives" has plenty of laughs, the incredibly expressive (and too-seldom seen) Stevenson turns Julia's romantic dilemma into something genuinely moving. She makes A Previous Engagement something special.

Another reason to embrace “Purple” is that the moving film is graced by a duo of exceptional performers in Barrino and Danielle Brooks as Sofia who, while singing, capture the electricity of being live onstage, and, while acting, take advantage of the raw intimacy of a close-up. Getting that combo right in movie musicals is rarer than you’d think.

Weatherford and Murphy lead a young and bright cast. All in all, Money Buys Happiness shows that Lachow is a director worth keeping an eye on.

Be warned: The Tree is slow-moving, but if given a chance, it will (pardon the pun) grow on you.

It's clever, cool fun and it looks great.

Night Watch may be derivative of American movies, but when our ideas ooze out of the dank Russian filter they're weirder, crazier, grimier.

A stunningly intelligent look at how the founder of psychoanalysis and modern psychiatry developed his ideas.

Director Catherine Gund most successfully depicts the visceral impact of Streb’s work with her footage of the 2012 Olympics.

An unexpectedly disarming, extremely well-cast little variation on "E.T."

Isn't as sharply directed as "Jessica Stein," but it's still a formidable crowd-pleaser.

Highly entertaining - but far from classic.

Who gets to say what art is? Does honest emotion count for more than cold abstraction? If Andy Warhol likes it, does that make it OK? Big Eyes toys with some amusing ideas, and that’s enough.

Sister Helen don't take no bull.

John C. Reilly, Marisa Tomei and Jonah Hill give such wonderfully satisfying, full-blooded performances in Cyrus that it seems almost churlish to wish this creepy little Oedipal comedy were a little more well-thought-out, and handled its wilder shifts in tone with more finesse.

Like an early Almodovar movie transported to Moscow.

Hamer’s style is what might happen if Ulrich Seidl liked people, with immaculate balance in each shot, but the emotions in focus, as well. 1001 Grams is wise about both grief and the need for romance.

Morbidly funny art-house horror tale.

The inspiring story of Chely Wright, the first major country singer to come out as gay. Her decision was a brave one since the world of C&W music is notoriously homophobic.

It's a worthwhile film both for history buffs and people who are still learning.

Gut-bustingly funny -- perhaps this waning summer season's ultimate guilty pleasure.

Finally, a post-“Bridesmaids” film that lets Kristen Wiig shine — and brilliantly taps into co-star Bill Hader’s vulnerable side, too.

If you're able to check your brain at the popcorn stand, you'll stand a much better chance of enjoying this crowd pleaser.

Nasty but compulsively watchable.

Killing Bono begs to be remade with A-list stars but, given Neil's history of near-misses, probably won't be.

Sam Rockwell's films are almost always worth watching be cause of this indie stalwart's taste in offbeat projects -- and his refusal to play to the audience's sympathy.

Dialogue, we seem to have forgotten, matters, and the words — by the brutally funny screenwriter of “The Departed,” William Monahan — are electric eels, slithering and sinister and nasty. They sneak up and sting you, or sometimes tickle your toes. Lowlifes don’t actually talk this way? Yeah. But if only they did.

Patient viewers will be rewarded, as long as they pay attention. Lots of what at first seems inconsequential is actually of great import - but Ceylan isn't letting on. And yes, the cinematography is impressive.

This isn't a performance film, and it is far from a definitive portrait of the androgynous performer.

The film, admittedly, does not rev up as fast as a Ferrari. The director initially prefers a relaxed pace and almost sepia color scheme that make us unsure, sometimes in frustration, of what the vibe of the story is supposed to be.

As for Grant, who hasn't been this sharp since "Love Actually" six years ago, he is once again the prime minister of cute comedy.

Shaft is what summer action flicks should be... thanks to superior writing, acting and direction.

Love is Strange is very well worth seeing for its two stars, who acutely convey the pain their characters feel over their separation as well as displaying their considerable comic chops to keep things from getting too grim.

Though it's being dumped in the wastelands in February, Breach is better than many of the pack of so-called prestige movies that were released at the end of last year.

Candis gets some wonderful performances from his impressive cast.

Who needs a big budget when you have a quirky script, an energetic cast and a soundtrack that features Union 13, the Blondes, Future Pigeon and Omega Man?

Beautifully photographed by Dean Semler, Appaloosa is the best Western since "Open Range" and shows there's still life in this most unfashionable of genres.

It’s as sprawling and pulse-pounding a fight as you’re hoping it will be.

This is a raunch-com that goes for — and gets — stunned laughs.

Grindelwald gives us a proper villain and a purpose for this series of — gulp — five eventual movies.

Veteran character actor Dennis Farina gives one of the best performances of the year in a rare lead part as an aging, down-on-his luck small-time hood in The Last Rites of Joe May.

A triumph of intelligent adaptation. It shows again how well the great Victorian storyteller translates to film, and makes enjoyable use of a generally first-rate cast.

Premature doesn’t break much new ground. But it sure breaks hearts.

A startling look at the devastating human cost of China's newfound embrace of capitalism.

Disney's best comedy in years.

It would seem no easy task conveying the essence of a bigger-than-life figure like Ellison in a 96-minute film. But Nelson, producer of Werner Herzog's "Grizzly Man," makes it look easy.

Perhaps the most fascinating vintage footage...depicts what happened in 1961 when the city sent police into Washington Square Park to stop the longtime Sunday practice of singing without a required permit.

Pacino demonstrates considerable comic chops in The Humbling — which has some interesting similarities to “Birdman.’’ It loses some momentum in its third act, but provides plenty of juicy material for a terrific cast.

Letters could be dismissed as a soap opera, but that would be unfair to this beautiful work. It features tender performances by Kaarina Hazard (Leila) and Jukka Keinonen (Jacob), as well as beautiful cinematography by Tuomo Hutri.

The Outskirts, handsomely directed by Petr Lutsik, will grab people's emotions. The dark and bitter comedy deals with a corrupt, post-communist Russia.

Chan at his high-kicking best. Some sequences are simply amazing.

There's scant dialogue in Workingman's Death, but little is needed when majestic camera work by Wolfgang Thaler tells the story so well.

Guaranteed to leave you outraged at the way children - and, for that matter, adults - are exploited by mining companies.

Not so good is Lily-Rose Depp as French princess Catherine. Say what you will about francophile Johnny Depp — he’s never boring. But his daughter, with her vacant expression, lacks a certain je ne sais quoi.

Remarkably apolitical, considering that it comes from the director of the Bush-bashing "The Road to Guantanamo."

This rousing, fact-based Norwegian movie covers an unusual subject -- the resistance movement in that country during World War II, whose best-known depiction came in "Edge of Darkness," a 1943 Hollywood adventure movie starring Errol Flynn as a stalwart fisherman outwitting the Nazi occupiers.

Beautifully photographed over the four seasons - including Christmas, for the park's century-old bird census - Birders: The Central Park Effect is full of grace notes.

The result is surprisingly engrossing -- even lively, due in part to brief musical numbers inserted amid the interviews.

The most exhilarating film about indie moviemaking on a shoestring since "Ed Wood," even if its subject -- the director's dad, ultra-macho filmmaking pioneer Melvin Van Peebles -- couldn't be more different than the notoriously inept Wood.

You can sympathize with both sides in their ideological battle, which ends in a most unexpected way.

Downbeat and at times strangely slow-moving despite all its beautifully shot high-speed ambulance rides.

The movie succeeds thanks to director Damien Chazelle’s superb visuals, which land somewhere between the quiet indie look of his previous flick, “La La Land,” and the epic sweep of “Apollo 13.” Space has never looked so sexy, or felt so claustrophobic.