Hate, love, bigotry, empathy and chance are the uninvited guests at Monster's Ball.

Brave enough to take up the war from the Southern point of view.

Startlingly original comedy-drama.

Sunnier and sillier than most of Allen's recent work, makes its belly laughs heartwarming. It's a most winning movie about losers.

Her life, and her work, transcended what we think of as "fashion."

What Our Fathers Did is a movie about historical and filial responsibility, about repudiation, about acceptance, about the pain we inherit, and the pain that continues to be doled out.

The chaos and carnage here is just a pumped-up take on a tradition that harks back to Godzilla, and harks back, of course, to the Marvel comics from which all these heros originally sprang.

Wickedly smart and wickedly playful, Roman Polanski's adaptation of David Ives' Tony-nominated Venus in Fur works on so many levels, it's almost dizzying.

A delightful, sharp dramedy that skewers the topic from every angle imaginable.

Undeniable asset of an A list cast.

A fine, inventive '70s period piece about friendship, first love, and growing up to face the hard lessons of life.

Chronicle is full of smart writing that isn't too smart.

Johnny Depp, in bushy eyebrows, sinister mustache, and a suit and hat of fur, may be too cartoonishly lascivious for his own good as the wolf who pursues the girl in the scarlet cape to Grandmother's house. But then he gets to croon the couplet, "There's no way to describe what you feel / When you're talking to your meal." Delicious.

Grand, glorious, gigantic and gorgeous. [13 Apr 1936, p.6]

Succeeds royally at building a sense of apocalyptic dread. It isn't quite so successful at sustaining that mood, and Fessenden resorts to blurry images of totemic spirit forces and stampeding moose specters to get where he's going. And where exactly is that? To a place designed to scare the bejesus out of us planet-pillaging consumers.

Amalric's performance is comically moving in the manner of silent actors, and the film is beautifully wrought with moments of enchantment. Alas, Chicken is a movie that begins with a crescendo and doesn't sustain its lyricism.

Rings true for the most part, and explores human nature - leashed and unleashed - in ways that resonate.

It's a tale of survival and kitsch that will win you over.

Devilishly delightful.

Solitary Man is a wafer-thin film with a river-deep, mountain-high performance from Douglas.

Feels both absolutely of the 1970s and absolutely fresh.

As Greene, Don Cheadle - explosive because you've never before seen this model of actorly restraint - is a one-man fireworks show in Talk to Me, Kasi Lemmons' rollicking, resonant portrait of the real-life ex-con who improbably became a civic icon.

A startling, powerful biopic.

Even the Rain strikes a deep and resonant chord.

The value and uses of spectacle become part of the story in Far From Home, which can be read as a bit of playful in-house MCU criticism of CGI fatigue.

A dazzling documentary.

If you’re looking for great, realistic action, it’s just the thing. Berg is a masterful action director, and his Patriots Day is every bit as engaging and exciting as "Lone Survivor" and "Deepwater Horizon."

It could have been more taut, could have been harder, but 25th Hour still resonates with power and poetry.