Lush and poetic, Dolls proves once again that Kitano is one of the world's most original filmmakers.

Mainly, though, this is Nanjiani’s show. Bits of his smart, cross-culturally incisive stand-up are sprinkled throughout, in performances alongside his fellow comics (one of whom is Aidy Bryant of “SNL”).

Arguably the darkest episode in the entire series (and the first to carry a PG-13 rating) the visually stunning "Sith" is also the fastest-paced and most accessible.

Lebanon-born director Ziad Doueiri, a camera operator on Quentin Tarantino's films, has a dreamy, fluid style he decorates with light electronic sounds -- from bands like Air -- that give this film more than a touch of youthful poetry.

Good on J.Lo for protecting the integrity of flighty rom-coms. Every movie need not be so serious and socially conscious.

Free love, vegetarianism and lack of personal property are the rule.

Eerie and utterly riveting.

Touching and unexpectedly funny moments (such as McCartney busting out the theme song from “The Monkees”) mingle with highlights from the show for an unusually compelling keepsake from what might well be the last time many of these ’60s rockers perform together.

More than just the portrait of a naive young woman. It's a frightening look at Putin's warped version of democracy.

What director Tom McCarthy’s intriguing film — which is a tad overlong — deftly explores are the cultural barriers that prevent us from achieving basic goals, such as solving a murder, and connecting with people unlike ourselves. The story is a lot more nuanced than France vs. America.

For a long while, director Benjamin Epps goes for breakneck farce; at its best, this is a batty mixture of family-values editorial and teen spoof.

“Fallen Kingdom” is a more interesting, and less obvious, story than the usual Tyrannosaurus romps, which tend to be death-defying games of hide-and-seek.

Owen Wilson turns out to be the best Woody Allen surrogate by far.

Then everything went wrong, thanks to Middle East politics -- as the moving documentary Raging Dove shows.

Outlaws and Angels isn’t perfect — Murray mumbles into his beard way too much — but Eastwood sure is at ease with a cowboy hat and revolver. Clearly, she’s studied with the best.

An intense but fairly brief battle scene near the start reminds us of the unique horrors of this war. But the hokey music played over it hints that the film is going to try too hard to touch us. And it soon does.

A fascinating, sad, sometimes quite poetic window into a grueling way of life most of us know little about.

It’s an exhilarating contrast to the weak-sauce caped crusaders who arrived at the box office last week. For a more convincing (if selectively edited) portrait in heroism, look no further than Darkest Hour.

All the past decade’s Marvel movies have been heading toward this showdown. Turns out the payoff was worth the wait.

The film seizes Lowery’s best skills as a director: his eye for innocence and nature (Pete’s Dragon) and how he uses slowness to deepen a story (The Old Man and the Gun).

If you’ve got comics-movie fatigue, with frequent fourth-wall breaks to point out lazy writing, blatant foreshadowing or heavy reliance on CGI for fight scenes, Deadpool 2 is here for you. That doesn’t mean those things aren’t there (they are) — but the eagerness of Deadpool to call out its own shortcomings earns this trash-talking franchise a lot of goodwill.

Greengrass' direction is uninspired, but there is powerful chemistry between a workmanlike Branagh and (real-life girlfriend) Bonham Carter. And her original, seductive and always believable turn as the difficult-but-lovable Jane raises the movie above all its flaws. [23 Dec. 1998, p.44]

Offers highly effective performances by a cast of real-life employees without previous acting experience, who also collaborated on the intriguing screenplay.

Not a very visually interesting documentary its simply one head talking to the audience, with no film clips, photographs or other diversions. But its awfully hard to turn away.

A gut-wrenching look at the human cost of war.

It's smart, funny, agreeably perverse and simultaneously abrupt and exhausting.

Haneke's images are so bold and riveting and the characters' emotions are so raw that the lack of a few details doesn't matter.

The story quietly builds to a rueful and fraught climax in which Campbell Scott does his usual exceptional work