A structurally messy but emotionally effective coming of age movie that gets a lot of it right. High school is an ordeal only the fittest can survive.

Don’t miss Tom at the Farm, the latest controversy in the oeuvre of acclaimed French-Canadian actor-writer-director Xavier Dolan, who has been labeled the “enfant terrible of queer cinema.”

The movie is so clueless and time-warped it could be comprised of outtakes from "Father Knows Best."

While Marvel metastasizes as a movie brand, the irreverent Guardians of the Galaxy franchise has become a healthy off-shoot. There’s something loose-limbed and unexpected about this series.

Flawed but bittersweet and enjoyable, this film may be the final chapter in a colorful and illustrious life.

What emerges is time pleasantly spent with a slice of life that examines a romantic détente between two cultures. Like smoke from an Egyptian hookah, the melancholia lingers.

One can easily imagine a version of this film that is a two-hour eulogy, not just for Chadwick Boseman but for the film that Ryan Coogler had intended to make with him. Instead, it’s both an affirmation of his legacy and an assurance that, though it might be difficult, life will go on without him.

The movie piles on one damned thing after another, often turning a truly original life story into a Rabelaisian soap opera replete with powdered wigs and violin concertos.

Fitting In, which was inspired by McGlynn’s own experience with MRKH, is a sweet coming-of-age story that doesn’t sugarcoat the complicated nature of Lindy’s struggles. It examines preconceptions of gender and sex with frank warmth, and Ziegler’s considered performance is open-minded and unafraid, especially when scenes call for her to confront her sexual shortcomings.

The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."

For fans of the first film, it’s more of the same, and for any casual horror viewers who are up for a funhouse thrill this October, it’ll do the trick.

Every generation gets a new one, and this time, replete with computer graphics and singing mice, Kenneth Branagh has created a live-action fairy tale that pulls out every stop and spares no expense.

I found the whole thing pokey and plodding, but there’s no denying the fact that even when sitting through Mr. Holmes seems numbing, Mr. McKellen is a force so powerful he’s his own reward.

The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.

Mr. Arestrup gives a full-bodied performance as the film’s most intriguing character, who blurs the line between senile irascibility and out and out malice.

Sensitive performances, mature and self-assured direction, and understated writing make Keith Behrman’s Giant Little Ones an emotionally involving, above-average coming-of-age story with a profound impact and mercifully few clichés.

It's uneven, but its optimistic message-lost causes can find strength through friendship and bonding-is contagious.

Remakes are odious, but Speak No Evil, while thoroughly unneeded and unasked for, is an Americanized remake of a 2022 thriller from Denmark that services its original material well, thanks mostly to a sprawling, contradictory and totally galvanizing centerpiece performance by James McAvoy.

Despite its protagonist, voiced by British actor Stephen Fry, the film feels oddly disjointed, as if there’s not enough story to sustain 90 minutes of beautifully-made stop-motion and hand-drawn animation.

Bring plenty of Kleenex. A nickel pack won’t do.

Kaluuya, who grew up on a council estate in Camden, clearly has a personal stake in The Kitchen. The actor has previously written short films, but this marks a solid debut feature for him that is stronger for its adept comment on the British class system.

This is a movie that’s back-loaded to the extreme: all of its action takes place in the last 20 minutes. Not that Leigh would ever be confused with Tarantino, but it would have been considerably more engaging to have started with the main event and moved backwards to how we got there.

Another truthful, intelligently calibrated and fully committed performance by the remarkable Lucas Hedges following this year’s previously acclaimed "Boy Erased" rewards the sensitive, pulsating and intimate family drama Ben Is Back.

It shouldn’t happen to a dog — or to an audience of dog lovers.

A saucy, twinkling star performance by Michael Keaton make this one of the must-see entertainments of the year.

It is a visually enthralling, high-gloss commercial for state power and repressive constructs. This is a product precisely tooled to be what the global marketplace demands of entertainment that is this expensive to make—a win for capitalism that will leave many filmgoers who found a powerful reflection of themselves in the original film feeling like they’ve lost something important and essential.

Sensitively directed by Francis Ford Coppola’s granddaughter, Gia Coppola, it’s a film about a familiar subject, but with a heart as big as the Vegas strip and a style of its own that holds interest from start to finish.

This film is too long for a documentary, and only a true Sidney Lumet fan is likely to sit through nearly two hours of it undistracted. Still, it’s a fascinating exploration of how a great mind worked by allowing the quality of his scripts to determine the style of each film—including not only the inner life but the camera, the clothes, the entire visual approach.