It works beautifully and illuminates aspects of Freud that you might think beyond the reach of the the camera.

Although its tone is generally genial and jovial, Good Hair touches on some tricky issues, at times complicitly.

Colorful, noisy, and pixel-deep.

At times Let It Rain recalls one of those Katharine Hepburn comedies where the New Woman gets cut down to size so as not to intimidate the Old-School Men. Yet the film so likably deflates the pompous and pumps up the humble that it's hard not to like.

Breaking a Monster is a revealing window into the industry. But it lacks a certain human component.

The film - despite being a half-hour too long - is a rocking, rolling supernatural spectacle.

A goofy conflation of Coenian elements: the numbskull huggermugger of "The Big Lebowski", the La La Land surrealness of "Barton Fink", the Old Testament overlay of "A Serious Man."

Smart and novelistic and spiked with more than a bit of The Catcher in the Rye, Steers' movie is a prickly coming-of-age tale in which everybody -- but especially Culkin -- shines.

It's about time: Aubrey Plaza gets her own movie!

Rebecca Hall is wondrous as Christine, delivering a sly performance that brings out her character's extraordinary intelligence. Her Christine has a peculiar brand of dry, subversive humor that takes aim at various absurdities of modern life and mass media.

The action is exhilarating, the visual effects spectacular - and spectacularly realized.

Bellflower has plenty of rough edges and it suffers from a bad case of hipper-than-thou-ness. But it's a triumph.

It's half hilarious, half serious; all poignant.

The unforced performances of Courtney and Fanning are remarkable.

Spielberg and his team - composer John Williams, as always, cinematographer Janusz Kaminski, screenwriter Richard Curtis - never forget their mission: to pull at heart strings, jerk some tears.

Though a fine specimen of cultural anthropology, The Aristocrats is too shapeless to be satisfying as a film.

Gluck is not a visual storyteller. He depends entirely on his performers and their snappy dialogue.

Manages to pull off a couple of startling surprises.

Lean, mean, and utterly compelling, Ma’s beautifully paced and remarkably understated 80-minute thriller Old Stone is a Kafkaesque satire about the soul-crushing effects of bureaucracy.

First Position shows the dancers' emotions, but it is weaker in building the suspense of the competition.

Jarmusch’s movie serves both as a fine intro to one of rock’s great bands and as a window for longtime fans into what makes Iggy tick.

Delicious confection about the resilient Czech character, tastes like a bittersweet chocolate souffle, it's much more substantial than dessert.

An elaborately worked-over opus that's as tarted-up and artificial as Scorsese's '70s classic Mean Streets was gritty and real, Gangs of New York feels like a movie musical without the songs.

It's hard not to get caught up in this improbable but true follow-your-dream tale.

In this, Alfred Hitchcock's centenary year, Felicia's Journey so startlingly channels the obsessions of the late director that it might be the greatest Hitchcock movie the master of suspense never made.

What gives the story added insight - and detracts from it - is the personal quest of the filmmaker who bears the scars of having an itinerant rogue who was never around as a father.

Enchanted and thrilling film.

What began as a bold and thrilling story descends into Hollywood cliché. But Crowe and Connelly's work rises above the mush. They make A Beautiful Mind go.