I've seen a lot of rip-offs of "The Truman Show" and a lot of rip-offs of "Scream." I guess I have to give credit to The Cabin in the Woods for ripping off both at once.

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.

The sex, nudity and violence are nonstop, but that's what makes Headhunters exciting entertainment. See it before the Hollywood remake, possibly starring Mark Wahlberg, gets it all wrong.

Quinceañera isn't a work of art, nor does it want to be. But it is a crowd-pleaser.

If you go with the flow, there's seductive imagery and a terrific performance by John Malkovich as a decadent baron.

This brisk, British-American co-production is one of the better political/historical documentaries to come out in some time.

A remarkable accomplishment, an absorbing documentary about the joy of reading that's also a positively gripping literary mystery.

Leigh's uncanny ability to mine emotional truth packs the usual punch. And the trademark flashes of humor sprinkled throughout ease the bleakness of the landscape.

The tone of “Brittany,” and its emotional impact, reminds me of Amazon’s other heartfelt winner, “The Big Sick,” which netted Kumail Nanjiani and Emily V. Gordon an Oscar nod for original screenplay. Colaizzo should get one, too.

The film is dark, both literally and figuratively. Only at the very end do we get a glimpse of the sun.

By terms moving and funny, the story reaches its apex when Half Moon, a beautiful young woman played by Golshifteh Farahani, makes her appearance from out of nowhere. Is she real, or perhaps an angel? You'll have fun trying to come up with an answer.

Laughably predictable in its plotting, crude in its symbolism, ploddingly paced and often rendered almost comical by the heavy-breathing overacting of Johansson's supporting cast.

It’s a canny blend of “Degrassi” and John Hughes, but here the kids mostly behave like angels. Love, Simon is the rare, feel-good gay movie.

We know Paris never went anywhere, and the film’s a little too flashy and theatrical, with too-neat ironies. As a duel between acting talents, though, this is first-rate.

Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.

A highly original black comedy from Greece -- and one of the weirdest movies I've seen in a long time.

In the House promises to be a social satire with a flash of Hitchcockian menace, but gradually it turns into a routine thumb-sucker on reality versus fiction.

Only rarely does the film present a genuine insight, such as the observation that many black people loved to dress up in their finest for church because, during the week, they were so often dressed as servants and manual laborers.

In terms of its outlook for young girls in Georgia, the movie title might as well be “Buried Alive.”

Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.

The doggedness and good will of these men are irresistible as they pick up on the American dream, finding work and even college educations while trying to locate their missing relatives back home.

Delightfully unpredictable, hilarious comedy with wonderful performances that tug at your heart in ways that utterly transcend gender labels.

Entertaining, extravagantly emotional.

A thrilling, beautifully crafted, fact-based horse story that's not merely the summer's finest movie, but may well be the one to catch come Academy Awards time.

Joe Swanberg - who directed, edited, lensed, co-wrote and played one of the lovelorn characters - has done wonders with a nothing budget and a personable cast of nonprofessional actors. For viewers so disposed, there are several arty shots of nude women.

The fractured timeline covers five decades, which Miller weaves together, with the past shot in color and the present in black and white. Still, the soapy climax is unnecessary.

It’s far from terrible and a pleasure to look at. But, perhaps inevitably, after such a raging success, Bong’s latest movie is a disappointment.

Kim's wittiest effort to date, with a wordless performance by Jae Hee that recalls Keaton and Chaplin.