Mark Becker's Romantico is beautifully realized on old-fashioned film. And that's only part of its charms.

This dramedy, which began filming in 1970, is more than just a museum exhibit for film geeks. It’s a solid, entertaining, complex story packed with eccentric performances.

For all of Affleck's skill, he can't entirely put over a credulity-straining ending that probably worked better on the printed page. At the same time, the deeply disturbing windup of "Gone Baby Gone" is a real talker. And that's not something you can say about many movies these days.

De Palma is extreme, visceral, usually in bad taste but almost always riveting. De Palma's Redacted, a no-budget fake documentary that imagines the circumstances behind a real rape and murder of a civilian girl committed by US troops in Iraq, is a piece of anti-war propaganda whose aims I don't agree with, but it jolted me nonetheless.

Bracing and stylish thriller.

The action film is as unpretentious as Charlie Sheen eating a Krispy Kreme doughnut at Six Flags. In short: blissfully dumb entertainment.

I have a feeling that this is the last time we'll see a down-and-dirty Ellen Page. Her handlers have too much wrapped up in her mainstream persona to ever again allow her to do anything as daring and out of the loop as The Tracey Fragments. And that's a shame.

The 66-year-old African-American, the subject of the inspiring documentary A Man Named Pearl, doesn't have scissors where his hands should be, but he turns trees and bushes into topiary sculptures every bit as amazing as the ones Johnny Depp's character crafts in the Tim Burton film.

A thoughtful and intelligent film, and should appeal to adventurous souls.

Morgan Freeman and Diane Keaton have unexpectedly great chemistry in this warm and funny comedy.

Bong Joon-ho directed one of the best dystopian thrillers in recent years — 2013’s “Snowpiercer” — and one of the finest monster movies ever, 2006’s “The Host.” You’ll find elements of both in his chilling, subversive new Netflix film, Okja, about a girl named Mija (Ahn Seo-hyun) and her enormous pet superpig.

The most engaging is straight-shooting Erin Brockovich (whom you'll remember from that Julia Roberts pic), still helping average Joes fight uphill battles against corporate toxin-dumping.

Based on the graphic novel “The Coldest City,” this film keeps its comic-book aesthetic front and center.

A lot of its jokes sputter and it doesn't contain even a hint of a chick movie, but The Dukes of Hazzard has some of the same fratty energy as "Wedding Crashers."

It's hard not to like a PG-rated 'toon that works in references to "Pulp Fiction" and "Fargo," even if Meet the Robinsons, a delightful, quirk-filled riff on "Back to the Future," proceeds in fits and starts.

Based on the true story of the world's largest counterfeiting operation, The Counterfeiters is full of the weird details that, though unsurprising on one level, are so jarringly wrong that they seem fresh: As a reward for producing 134 million pounds sterling, the prisoners get a pingpong table.

Highly entertaining documentary.

Ends in magnificent fashion, with skyscrapers bowing to Beethoven's Ninth. It's a stirring ending to a sweet movie.

A sweet and endearing movie. Attention, kids: It's also packed with action!

Indie hipster Jarmusch's distinctive brand of effortless cool and quirky humor percolate through each of 11 vignettes, all shot fairly statically in crisp, aesthetically pleasing black and white.

So potent, it could change the mind of even the most staunch defender of capital punishment.

As Popper himself notices, his and the penguins' saga gets so endearing that it could have been narrated by Morgan Freeman.

Whether you’re a veteran Brando-phile or a newcomer, Listen to Me Marlon is a totally fascinating glimpse into the making (and unmaking, and remaking) of a legend.

Anchored by the performance of Shu Qi, who has come a long way from her days as a nudie pin-up. She's a first-rate actress.

Boy Erased is the second gay conversion therapy movie of the year, after “The Miseducation of Cameron Post.” Both are worthwhile. Where “Cameron” was an intimate charmer focused on the importance of camaraderie to get through hard times, the more dramatic Boy Erased is about accepting our family for who they are, in whatever condition they arrive in.

Short, sweet, raunchy and often screamingly funny.

Just as the story is minimalist, so too is the documentary-like film's look: long static takes and tons of close-ups. An epilogue allows viewers to come to terms with the film's tragic ending.

It’s Peele’s first film, but it has none of the rough edges or self-indulgence you’d expect from a rookie.