This is, by some distance, the best movie of the three, and it showcases the impeccable symmetry of his compositions, while retaining his compulsion to wag a finger in your face.

It’s a lark, if you can tolerate the hammy redneck accents, and confirms that Soderbergh is as agile as ever at knitting together all the moving parts of a complex heist.

Skarsgård’s the ace though. Without going overboard, and never being anything less than terrifying, he fleshes out Orlok into a richer character than bat-like Schreck was able to. His tragic, albeit disturbing, final scene almost puts a stake right through our hearts.

A powerful account of how the American dream became a nightmare for one Laotian family.

2046 is a bit overlong and not for all tastes, but fans of "In the Mood for Love" will relish this second helping, which is more emotionally substantial than the first.

[Refn] mixes jittery hand-held camerawork, improvised dialogue and available light to create a nightmarish world of sex, drugs and horrific brutality that will turn off many viewers while delighting others.

Gut-Bustingly funny moves are pretty rare, so hustle over to Kung Fu Hustle, actor-director Ste phen Chow's exhilaratingly hilarious and affectionate send-up of Hong Kong action flicks.

The entire cast is wickedly good, and their overblown characters are what keep the Dickens spirit alive.

Clemency is remarkable for the understanding it affords to all involved with its wrenching subject matter.

Archival footage is combined with somewhat affected-looking re-enactments, but the film achieves its purpose: to remind us that we still have thousands of bombs, and neither they — nor we — have gotten that much smarter.

Boasts some genuinely intelligent and funny sequences and some nicely painful scenes of domestic tension - as well as surprisingly strong performances from actors like Neve Campbell and Donald Sutherland.

The movie equivalent of a lavish coffee-table book, a love letter to the Golden Age of Hollywood from one of its foremost students.

Has its moments, but overall the effect is uneven.

Moves along its tranquil way until about five minutes before the closing credits, when it turns into a terrorist thriller.

One of the most original and stylish films to come along this year.

In Abuse of Weakness, Breillat, notorious for her sexually explicit films, casts the excellent Isabelle Huppert as her avatar, Maud, to tell the tale.

Scary and sad, Trapped is for anyone who cares about the precarious future of reproductive health for American women.

At the end the film turns into an infomercial for President Obama’s Iran deal, but Gibney delivers plenty to think about — and fear.

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.

If there has ever been a better voice performance in an animated film than Ellen DeGeneres’ in Pixar’s wonderful sequel Finding Dory, I sure can’t think of it. Her tour de force even surpasses Robin Williams in “Aladdin.”

What a sweet collision is Rescue Dawn: the American psycho meets the German kook.

Happy Feet is not only the year's best animated movie, it's one of the year's best movies, period. Go.

Makes a powerful case against the wisdom of budget cuts at universities everywhere.

Filmmakers Sam Green and Bill Siegel tend to shy from tough questions, allowing their subjects to wax nostalgic about bomb-throwing as yet another youthful folly of the '70s. That's tougher to swallow than some boomers' claims they didn't inhale.

Chang doesn't pull his punches in this continuing look at a changing, out-of-control China.

The real star of the movie is the delectable sushi itself. Viewers will be tempted to hop the next flight to Tokyo, but probably will have to settle for a Japanese eatery closer to home.

What’s so unsettling about his Longlegs is, as big and cartoonish as he is, the weirdo is just believable enough. You could run into him late at night at a highway rest stop or, God forbid, on an empty subway platform. Cage makes a meal out of the murderer...During this so-so summer at the movies, something’s finally got legs.

The long-term effects of bullying are at the heart of The Gift, a dark and ultimately quite nasty psychological thriller from actor/writer/debut director Joel Edgerton, who manages to yank the carpet out from under his audience a couple of times.