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.