Although at times fictionalized to make for a more cinematic retelling, the movie is largely accurate and rigorously avoids exploitation.

Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.

With September 5, Fehlbaum has crafted one of 2024’s most unlikely thrillers. It’s also one of the best movies to reach screens in a year when genuine tension has been too often absent from films in which it should have been a key ingredient.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

Witness states its position about clashing cultures with eloquence.

Nil by Mouth is as powerful as it is uncomfortable, and those in search of a pleasant movie-going experience would be best served looking elsewhere. However, for anyone who isn't bothered by the thought of experiencing a shock to the system, this film is not to be missed. It approaches a serious social issue in the best, most dramatically true manner.

The movie as a whole isn’t about moments but a synthesis of all the factors that enriched the girls’ tennis DNA. Regardless of how much is true, how much has been softened and reshaped to suit the movie’s perspective, and how much is fabricated, the end result is compelling drama with top-notch performances and a feel-good denouement.

Kudos to Darren Aronofsky for having the courage to make this film. Kudos to Paramount Pictures for having the guts to open this wide rather than burying it or hiding it as a VOD release. It’s too bad it doesn’t work.

I like Steve Buscemi. I really do, which is why it's such an disagreeable task to write a review that condemns his directorial debut as a waste of film. I'm not talking about a good idea gone awry, I'm referring to something that's rotten to the core.

Howard is an affectionate but unremarkable biography of Ashman that uses archived clips and new interviews to present an overview of the man’s life with a special attention on his later years.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller.

Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

Bold and stirring with impeccable production values, The Last of the Mohicans is a memorable motion picture adventure, and one of the best films of the year.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.

The most notable element of screenwriter Dan Gilroy's debut feature is the performance he elicits from Jake Gyllenhaal. In the tradition of Brando, Bale, Theron, and others, Gyllenhaal undergoes a radical physical transformation to play the part of Louis Bloom.

Many of the characters might have longer, more fully fleshed-out arcs. But what Prince-Bythewood provides is more than enough for a rousing motion picture filled with well-choreographed battle scenes effectively folded into stories of human interest.

Asteroid City doesn’t represent Anderson in peak form but it’s an occasionally enjoyable diversion that offers enough smiles and low-key laughs to paper over a few the filmmaker’s annoying tendencies.

The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.

It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.

Although I didn’t find the film particularly noteworthy, I enjoyed visiting Paris in the late 1950s and appreciated the behind-the-scenes tour. Like many hangout films, it’s simply enjoyable to spend time with the characters, even if nothing momentous occurs (depending on one’s definition of whether the making of a classic movie qualifies as “momentous”).

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

The Truth is layered and offers a treat for those who savor acting on the highest level, but it is a step down from his best films and may hold its strongest appeal for those who label themselves cineastes and art house movie-lovers.

It’s experimental without being off-putting and it uses its 100 minutes to build out a character who was frustratingly incomplete in X.