The real reason to see Blank City is to catch snatches of the now-decades-old films - priceless DIY numbers that capture all the wild energy, humor, and rage of, if not a more innocent time, then certainly a cooler one.

DuVernay has confidence in her actors that is reciprocated in kind. Richardson-Whitfield gives a remarkably empathetic performance.

A disturbing and forceful drama.

Until Steak(R)evolution gets repetitive, it's fascinating to see how everything, from culture to politics, affects what we eat and how we eat it.

Bridge to Terabithia the movie, like the book, is buckets-of-tears sad. Director Csupo and company manage to get that - the simple power of a story about kindred souls, about loss, about the limitless possibilities of a lively mind - just right.

Amid all the horror and the black ooze, there emerges a deeply touching story about the power of love.

Catching Fire is bigger, better and broodier than the first film.

Fraser and Elfman are goofily endearing even if they seem more sincere acting opposite the rabbit and the duck than they do each other.

There are good things to say about the inspirational Disney sports film McFarland, USA, starting with its up-from-the-scrap-heap story, which happens to be true.

Poignant, funny and clear-eyed about some tough topics: homophobia, racism, AIDS.

Little gem of a movie.

Chilling - and very chatty. Snowden is a seriously talky film. Yet it never feels tedious, thanks to Stone's tremendous sense of story construction, the film's razor-sharp editing - and Gordon-Levitt's masterful performance.

The Hunt offers a powerful, provocative study of mob mentality and the fabric of trust.

There's something optimistic in the filmmaker's clear-eyed, straightforward storytelling style.

Black's caped "luchador" grows on you. Like a fun guy.

Some movie-goers will be more annoyed than surprised by the finale.

Kari's film, witty and sad, is a spare, small thing, but Noi has a poetry about it, and a poignancy.

A thoroughly satisfying mix of mayhem and mindless fun.

In the psychologically scarred world of The Holy Land, sex and religion, love and hate, survival and despair all ricochet around, waiting to explode.

A disturbing and provocative study of adolescence and isolation.

So what if the movie isn't finger-lickin' good like the original? The performances by Hanks as a crook and Irma P. Hall as his honorable landlady are mighty tasty.

After nearly three decades of misfires, major and minor, William Friedkin, the creator of "The French Connection," "The Exorcist" and "Sorcerer," is back in true form with Bug. And heaven help us for it.

It's a noble enterprise, and a remarkable story, but it's not a movie that will set you free.

The vampires in What We Do in the Shadows are symbolic of something else altogether: epic unkemptness.

Murphy, in the boogeyman role, toggles between seductive and sinister with enough conviction to make you forget that his character makes no sense at all.

Fugard’s classic minimalist drama comes eloquently to film.

It is a difficult and demanding movie, one that rewards the persevering moviegoer just as Pollock's difficult and demanding paintings ultimately reward the steadfast.

Whatever one makes of its subject's moral code and mind-set, one has to give Terror's Advocate its due: the stories are riveting, the man is real.