Polarized world views from the mouths of babes -- unfortunately does little to mitigate this depressing image, but much to humanize both sides.

Now that’s how you do a 1980s film sequel.

Directed with visual splendor by Wes Ball, the meaty film’s combo of flawless zoological effects (unlike this year’s inferior primate picture “Godzilla x Kong”), superbly crafted characters and a timeless story of emerging civilization and the fight for survival is remarkably riveting for what sets the groundwork of a whole new trilogy.

The most effective moments in Taymor's gorgeous, surprisingly romantic Frida are those that evoke the visual world from which Kahlo's work was formed or the paintings themselves, often using clever animation and other special effects.

There is too much funny here for a movie (even though it continues into the closing credits). Step Brothers should be a TV show.

Easily one of the year's best movies.

Bryan Cranston finally translates his critical acclaim for “Breaking Bad” into an Oscar-caliber performance in darkly comic Trumbo, playing an eloquent, witty screenwriter who bucked the Hollywood blacklist and triumphed.

A modest and charming comedy from Israel.

The final result, shaped by the brilliantly nimble, pitch-perfect direction of Spike Jonze, and blessed by superb acting, is an extraordinarily clever comedy that falters only in the last 20 minutes.

It’s a rare film that locates viciousness and kindness on both sides of Northern Ireland’s Troubles.

The skillfully acted and directed The Lives of Others is a timely warning about governments that seek to repress dissent.

You're either going to love this film and run out to see everything Majewski has directed, or you're going to be bored silly. I'm hoping for the former.

The fact that Fiennes went right from playing a cardinal in Best Picture-nominated “Conclave” to a nearly-naked hermit with a hobby that would raise Hannibal Lecter’s brow makes me wish we could send the actor’s brain out to be analyzed by scientists.

Worth seeing just for the dramatization of the making of “Good Vibrations” alone. But there’s much more to savor in this biopic — a rare high note in the drone of so much summer dreck.

Director William Oldroyd’s mouthwatering drama, based on Ottessa Moshfegh’s acclaimed novel, misleads and misdirects all the way to the shocker ending.

For all of its laughs and a star-making performance by Hawkins, Happy-Go-Lucky represents a serious philosophical inquiry by Leigh, who has illustrated a consistently pessimistic view of humankind in his semi-improvised movies.

This movie depicts an unlikely intersection of sports and leadership in ways that manage to be inspiring and insightful without ever becoming schmaltzy or preachy.

File this one in the same category of edgy Long Island comedies as the equally smart 2009 Alec Baldwin film "Lymelife."

Fiennes is magnificent, and a scene involving him and Iron Maiden’s song “Number of the Beast” will go down as one of the most buzzed-about sequences of 2026. Were it written for a grisly horror movie, Alex Garland’s climax would fit snuggly into a Shakespearean comedy.

Vulgar and lewd and raunchy like you wouldn't believe, and absolutely hilarious from beginning to end.

The story is ornate but easy to follow. It's the dreamy look and sound of Tabu - half old, half modern - that give the film its haunting strangeness.

The Yellow Handkerchief tells a timeless fable, and tells it extremely well.

The movie all but proclaims U2 the world's best rock band. Somewhere, Mick Jagger's jaws are grinding.

Woody Allen's most purely entertaining film in years.

The marvelous Burtonic gothic/nightmare production design -- scenery, weaponry, costumes, etc. constantly pleases the eye without ever distracting you from the plot.

Doesn't have the crossover appeal of the Mexican sexcapade "Y Tu Mama Tambien," but it does herald the arrival of an audacious young filmmaker. We can't wait to see what he does next.

Ivo’s farmhouse looks leftover from another century, which gives a timeless feeling, as does the regal bearing of Ulfsak and the dry humor of the script. The film telegraphs its pacifist message early on, but it’s still deeply affecting.

A visually stunning film.