A taut thriller based on the tragedy, which remains the most lethal mass killing in New Zealand history.

A disarming Spanish dramedy of late-life love, speaks a universal language.

The most enjoyable western comedy since "Blazing Saddles."

We hold Pixar to a higher standard because of the true art it has achieved over the past – gulp – 30 years. If “Inside Out 2” doesn’t quite reach those heights, it is still a promising step on the studio’s difficult quest to rediscover its own sense of self.

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

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

Breakup at a Wedding works, because Quinaz has come up with a concept that lets him skewer directorial pretension alongside wedding hysteria.

Comparisons to “Slumdog Millionaire” are inevitable, but the kinetic Trash has a rhythm all its own.

Although “Ben” can get a little sentimental at times, Roberts and Hedges are a team to root for.

What really makes Hail, Caesar! sing are the Coens’ painstaking period simulations of scenes from five films,including not only “Hail, Caesar!” but a synchronized swimming routine a la Busby Berkeley and a corny musical Western.

The film manages to be both hopeful and devastating — and recommended viewing for anyone who subscribes to the facile notion that abused women should “just leave.”

Pine makes a perfect foil for Gadot’s furrowed-brow sincerity, his Steve Trevor wry and comfortable enough in his skin to hold his own with Diana (even when she’s scrutinizing his naked form).

The Neighbor No. Thirteen forgoes the manic violence of the Korean revenge stunner "Oldboy" in favor of leisurely paced suspense with sudden bloody outbursts.

It's Gordon-Levitt's pitch-perfect work that makes Brick a hardboiled treat.

A beautifully crafted, white-knuckle, roller-coaster ride of old-school filmmaking -- the kind that believes that the less you show, the better.

Addiction Incorporated delivers a hard kick in the butts to the tobacco industry.

Settles into an unflinchingly honest coming-of-age portrait.

A sentimental, whimsical autobiography.

Serves as a primer on a musical style that may be unfamiliar to many, while putting a human face on the problem of illegal immigrants.

Spectacular special effects and sets.

If you have the patience, its almost endless silences and extremely slow pacing eventually pay off.

Butler's film still manages to accomplish what the candidate's foundering campaign has utterly failed to do.

It shows the hardship that women -- especially older women -- must endure in a male-dominated business.

While it obviously isn't for all tastes, this is a big, thematically rich step forward -- mostly it's about tolerance and forgiveness -- from the empty provocation of Solondz's "Storytelling" and "Palindromes." About time.

While type-A Pierson worries about his projectionist showing up and a break-in at his family's home, his wife frets that the mass importation of American films will contaminate the local culture.

Which is scarier: a maniac in an orange ski mask wielding a hunting knife - or Jon Bon Jovi as a journalism teacher? Cry_Wolf gives us both, and though Bon Jovi is livin' on a prayer if he thinks he's an actor, the movie is a find.

Director McLean doesn't let up on the suspense, which builds to an electrifying climax that is greatly abetted by Will Gibson's gritty cinematography and Francois Tetaz' nerves-inducing score.

The spaniel-eyed Jean Reno ("Ronin") infuses Hubert with a mixture of deadpan cool, wry humor and just the measure of tenderness required to give this comic slugfest some heart.