Classic.

It is the more satisfying of the two installments - less over-the-top, arterial-gushing violence and more investigation into character, motives, back-story.

It does a masterful job of capturing a specific time and place while reminding us how timeless the abortion dialogue is.

A deeply creepy and mysterious noir.

It's a story of global consequences and historic proportions, and of astounding athleticism and synchronicity - and filmmaker Polsky ices it.

A film of haunting eloquence and justifiable fury.

The violence here is never in the service of spectacle, always of the story.

A richly observed coming-of-age drama about two teenage boys who are drawn to each other with a complicated mix of attraction, repulsion, tenderness, and aggression.

Ergüven's film, beautifully shot and beautifully performed, cuts its storybook tone with starker, more brutal truths. Anger - aimed at a conservative social order and those complicit in maintaining it - courses through this sad, striking tale.

An accomplished and compelling film by writer/director Josh Mond, James White is also pretty much a bummer.

A masterfully creepy and beautifully turned variation on the teen horror formula.

An immensely enjoyable, warmhearted, and gentle showbiz dramedy.

With Sweeney Todd: The Demon Barber of Fleet Street, Tim Burton gives new meaning to the term "director's cut."

That is the sum of writer/director Steven Knight's movie: a man, a car, a hands-free mobile device. And it is extraordinary.

It's a wondrous mix of the momentous and mundane, the profound and the perverse, with Cave blues-talking his way through the goofy juxtapositions, the darkness, and the light.

Terrifically satisfying film.

Creed is corny like the old Rocky films, but riveting like the old Rocky films, too.

Whatever number it is chronologically on the P&P parade, Wright's film ranks first in verve. Quite simply, it is the essential P&P.

The great thing about Venus - apart from its sharp eye for the daily routines and drab details of senior citizenry in a buzzing metropolis - is that it isn't soppy, or sentimental.

At 120 minutes, The Love Witch is too long. Biller has too much material on her hands and too many non sequitur scenes.

The Second Mother is an interesting look at generational and class divides in Brazil, without the feel of a lecture or lesson.

Ajami brings its audience into a world where the cultural conflict is fierce, emotions run high, yet the hopeful vision of peaceful coexistence shines through the cracks.

It's a coming-of-age story - blunt, mythic, gut-wrenching.

A terrific mystery, equal parts haunting love story and nimble thriller.

Gorgeous, and full of bittersweet whimsy.

The beautiful misery of The Deep Blue Sea - Terence Davies' crushing adaptation of Terence Rattigan's 1952 play - is almost too much.

We're in the company of a great character here, with a lot on his mind, a lot to say.

With no-nonsense narration by Peter Coyote and a soundtrack that's at once apt, ironic and really, really good, The Smartest Guys in the Room is anything but a dry dissection of a major Wall Street debacle.