A yellow dog of a movie that delights in offending the offendable. It's also a whitesploitation classic, from its menacing sideburns to its demented laughter.

The rom-com ain’t dead yet. Crazy Rich Asians is a defibrillator for a genre that flatlined ages ago. This heartwarming, well-acted — and decadent — film takes you back to the greatest hits of Nancy Meyers, Richard Curtis and Nora Ephron.

Desplechin draws uniformly superb performances from his young cast, making the coming-of-age genre seem fresh and vital.

One of the best films released so far this year, At Any Price signals the arrival of Iranian-American Ramin Bahrani in the ranks of major US directors.

Gentle, simply told love stories are as rare in documentaries these days as they are in narrative film. That alone makes Yi Seung-jun's Planet of Snail a standout.

I enjoyed this ride of titillation, torment, insanity and exploitation to such a preposterous extent that I’ve considered signing up for online therapy to wrestle with it.

Utterly delightful.

At some point in her 50-year career, Rampling became one of the world’s great actresses. Driven by her and Courtenay’s work, and by director Andrew Haigh’s limpid style, the film is devastating.

Mud runs over two hours, climaxing with a shootout that belongs in a different movie. It’s a rare misstep in an art-house movie that will pull mainstream audiences along as inexorably as the Mississippi River. Go see it.

Showing the personal toll that produces a star in any field could be a soggy, predictable drag, but the documentary A Man's Story never slides into easy sentiment or bromides.

The Good, the Bad, the Weird may owe a lot to other films, but it is always fresh and never boring.

You don't have to know Chile's bloody history to be moved by the poignant new film Machuca, the first movie made by a Chilean about the country's 1973 military coup.

Like Roald Dahl's book, Tim Burton's splendidly imaginative and visually stunning - and often very dark and creepy - new version of Charlie and the Chocolate Factory is squarely aimed more at children than their parents.

Michael Caine and Harvey Keitel do some of the best work of their careers playing longtime friends navigating their twilight years in Paolo Sorrentino’s witty, wise and swooningly beautiful dramatic comedy Youth.

The film is less violent and bloody than much of the director's work, but the absurdity level is sky high. Takashi Miike is at the top of his game, loving every minute of his surreal visit to the twilight zone.

Between D-Day, the sheer ambition of Paul Thomas Anderson's historical epic and Robert Elswit's dazzling cinematography, this is a must-see movie - even though its emotional temperature rarely rises above freezing and the climax goes way, way, way over the top.

A grim, challenging movie that will amply reward audiences willing to go along with its ride into the dark depths of its characters' souls.

Sweet without being sticky and funny without getting silly, Whip It introduces Barrymore as a director with a keen eye, a good ear for tone and an inspired touch with actors.

After seeing Everybody's Fine, Paul McCartney offered to write a song that plays over the closing credits. That may be because the whole movie is like a celluloid McCartney tune: warm and playful and sweetly earnest, but lightly funny, too, and crafted with consummate skill.

[McCarthy] marries beautifully spare compositions with comically abbreviated dialogue to craft something magnificent from a vaguely precious premise that could easily be the foundation for a parody.

You may or may not connect Brinkley to a certain presidential candidate, but, either way, this is one of the most entertaining documentaries to come along in some time.

While Bigbug is characteristically eccentric, it also has the most mainstream appeal of any Jeunet film since “Amélie.”

The movie is a bit long, and the culmination overstays its welcome. That is the only section of the movie where the viewer is a step ahead — and therefore it doesn’t sizzle like what came before. Yet the visual splendor of the sequence also proves the director has a flair for the epic we didn’t know about before. And that makes me all the more excited for the next “Untitled Jordan Peele Project.

Like the paintings of the master, Renoir is beautiful to look at, but it would be a mistake to call the film (or its subject) shallow.

The most devastating spoof of reality TV since Albert Brooks' 1978 "Real Life."

Walken was largely typecast in quirky roles as a result of playing the title character's brother in "Annie Hall," so it's something of a delightful irony that 35 years later, Walken finds his most rewarding role leading a terrific ensemble in what amounts to one of the best Woody Allen movies that Allen wasn't involved in making.

Is “F1” too long? Absolutely. But not once did I say, “Are we there yet?”

As for Hoffman, the shambling Everyman naturalism he shows here gives God’s Pocket an added elegiac layer that makes its bitter ironies that much more painful.