Highly entertaining documentary.

The bright palette of Reality is an obvious way to underline the hero’s unraveling, but it looks good, and it works.

The highlight of this package of 12 recent animated shorts from around the world is Australia's "Ward 13."

Gorgeous surroundings don't make up for sulky, feuding travel companions.

Richard is flawed, never villainous or heroic, and rarely follows his own fervent advice to be humble. You leave in awe of what he accomplished, but not admiring the whole man. Few biopics dare to have layers anymore.

Whatever sophisticated point Decker and screenwriter Sarah Gubbins aim for here is undone by its pretentious academic characters, whose arrogant droning would make you switch seats if you were next to them at a coffee shop.

Everyone knows about the Holocaust, but few today have heard about what was infamous as the Rape of Nanking, when 200,000 residents of what was then China's capital were massacred by invading Japanese troops.

Calm down, “Black Swan” guy. Viewers will survive; some may find, as I did, scenes he intended to be terrifying as ridiculously over-the-top. But Mother! is undeniably a wild, memorable ride. It’s a Rorschach test of a movie to interpret however you like.

Most of the best gags are in the early going and the film seems ever more stretched and thin as it goes on. It would have made a brilliant eight-minute sketch, though.

A real nail-biter of a monster movie. The question is: Who’s the monster?

Gorgeously photographed by Peter Suschitzky, A Dangerous Method presents a vivid portrait of pre-World War I Europe that's at a considerable remove from the types of madness usually seen in Cronenberg's films.

It contains no poetry. It simply conjures up a horrible feeling -- and then sits back awaiting congratulation.

Denzel Washington dazzles in his best screen performance to date as Frank Lucas.

You'll laugh, you'll cry -- the year's best movie.

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.

In his own twisted way, Lou is just as much a bloodsucker as Dracula, in a horror story that this tabloid veteran can attest is not as far removed from reality as you might assume.

What a refreshing break from what usually constitutes an epic nowadays — mixing Ant-Man and the Hulk.

A master class on turning a talky, one-man play into a visual delight.

Yes, it’s the middle chapter and feels like it, but it’s never dull.

The excruciating and the hilarious mingle nearly to perfection in this marvelously visualized and deeply felt British film.

While the premise (inspired by the true story of tune-challenged American socialite Florence Foster Jenkins) could be as cruel as “Carrie,” Frot’s would-be diva is achingly sympathetic.

Super-vulgar, ridiculously sophomoric, horribly nasty and so hilarious you’ll probably squirt Diet Coke out of your nose within the first 20 minutes.

Sophie Scholl is a powerful story. But it's a little annoying how men become beside the point when the focus is on emotion. Sophie did no more or less than her brother, but he's ignored for nearly all of the movie because it's easier to stir up compassion - it's easier to manipulate the audience - when the subject is a woman.

This intriguing film is the best variation on "Vertigo" since Brian DePalma's far more polished "Obsession" (1976), which ranks with the best Hitchcock knockoffs of all time.

This film of mistaken identity, murder, class envy and (bi)sexual tension doesn't live up to its own promise.

Uniformly excellent performances keep this destabilizing tale ticking, yet one can't help wishing Hollywood had combined this cast and these timely themes with a little bit of imagination to come up with something fresh.

Writer-director Debra Granik has found a star, and wisely builds every scene around Farmiga's character.

It’s all a delightful mess, executed with a deft touch by Jacobs.