Park's direction is flawless and Jung Jung-hoon's cinematography is stunning.

The swooping shots and the way the lack of dialogue amplifies ambient sounds are stunning. Story-wise, The Tribe is yet another art-film wallow in cruelty, not nearly as unique as its looks and its world.

Morton deserves an Oscar nomination, but she is unlikely to get one. The movie is too dark and out of the mainstream to impress the conservative fogies who vote for the prizes.

It may take a scorecard to keep track of the complicated relationships in this sorry clan.

This remarkable new documentary from Raymond De Felitta ("City Island") fruitfully revisits the aftermath of a TV doc that his father, Frank, produced for NBC in 1965.

As for Broadway buffs and lovers of old New York, the witty, hilarious and haunting movie starring a totally transformed Ethan Hawke as musical-theater lyricist Lorenz Hart will have them utterly bewitched.

"HP6" is suspenseful and artfully realized. It's a definite improvement over J.K. Rowling's dimly written and exposition-clogged book.

The year’s best film so far.

I was laughing so hard, tears were streaming down my cheeks.

Mylan and Shenk provide an engrossing look at these bright, clean-cut young men and the obstacles they faced in "the land of plenty." In doing so, the filmmakers also reveal a lot about the American character.

One of the oddest, most perplexing -- and delightful -- films to come along this year. And last year, too.

The first filmed Shakespeare comedy in decades that’s actually funny.

The result is an absorbing look at a country still struggling to adjust more than a decade after the fall of communism.

Beautifully composed, The Last Mistress, Breillat's 11th film, deals with the theme she has put forth in such previous work as "Romance" and "Fat Girl": how women deal with sexual desire.

Meant to evoke filmmaking of a bygone era, but this time the director is more restrained visually, while making use of a more conventionally structured script than usual. And he has a real, honest-to-goodness star in Rossellini.

Low-key yet has a lot to say about class struggle.

Curran (“The Painted Veil”) never imposes any additional structure on Davidson’s story, which may test the patience of some viewers. But I found the sprawling, wild visuals in Tracks, and the long silences as the sunburned Robyn traverses some of the world’s least hospitable lands, meditative and moving.

Viewers unfamiliar with the politics of the era might feel lost as the plot unfolds, and the 139-minute running time might be a bit much. But why quibble?

It could turn someone who never heard of the Flaming Lips into a devoted fan.

Hands-down the best movie of the year.

Writer-director Mary Bronstein’s absorbing psychological drama about a mother at her breaking point is two hours of mounting anxiety and nervousness.

Del Toro has whipped up a monster that’s enjoyable enough to stare at, all right. And you’ve gotta admire his handiwork. What’s missing are what the Creature hungers for most of all — life and love.

1917 is a modern war classic and one of the best movies of the year.

Walker's breezy film turns Muniz into a folk hero. And who am I to argue?

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.

Morris' most gripping film since "The Thin Blue Line," is the year's scariest movie.

Well worth seeing for the terrific performances.

A ho-hum male weepie/road comedy that's worth watching mostly because of a once-in-a-lifetime gathering of England's greatest working-class actors.