The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.

Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.

Spielberg’s West Side Story is a resplendent entertainment and a reminder that at least some of cinema’s great classics can in fact find new life in the hands of a master director who is more concerned about crafting a movie than making a blockbuster.

The Dark Knight Rises ultimately justifies its length (in fact, a good argument could be made for a longer cut) and the last 45 minutes is nothing short of spectacular. From the point where the narrative takes a leap of faith, it never lets up.

Chilling and creepy, and there's no denying that the most celebrated aspect of the film -- the Clarice/Hannibal connection -- could not have been accomplished with greater skill.

No, it’s not a game-changer like "Deadpool" or "Logan." It remains firmly anchored within the “traditional” comic book milieu. But, with an unwavering devotion to spectacle and action, the film throws down a gauntlet where this kind of mass team-up is concerned.

Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.

Wright is savvy enough to realize that suspense and tension require characters that are more than human figures in a CGI playground. He does just enough with the men and women populating Baby Driver for us to get a sense of who they are.

In the midst of summer's cinematic thunder and lightning, this is a rare moment of tranquility.

This is a disturbing film, a journey into the heart of a damaged man’s psychosis. In many ways, it’s more of a horror film than an action/adventure offering. Even Nolan’s The Dark Knight, the crown jewel of the 21st century DC/Warner Brothers cinematic catalog, traced a more traditional comic book movie template than Joker. Within this genre, there has never been anything quite like it.

Those who go to a Villeneuve production, Sicario included, must be prepared for intense suspense, moral ambiguity, and an ending that doesn't conform to Hollywood norms.

The film’s ensemble cast provides a case study in unforced, emotionally powerful acting.

This is a tense, well-crafted motion picture that keeps viewers on edge. It's an exhausting 130 minutes; many viewers will leave the theater feeling drained.

Psycho is a brilliant excursion into fear that pushes many of our primal buttons, but it lacks the story and character complexity of Vertigo and Rear Window.

As written by the brash, funny, and often vulgar comedienne Amy Schumer, Trainwreck is brash, funny, and often vulgar. Its raunchiness is a perfect match for the man who made "The 40-Year-Old Virgin" and "Knocked Up."

Deliciously perverse, delightfully twisty, and unapologetically erotic.

After watching Microcosmos, it will be impossible to take a walk in the woods without being aware of the amazing tapestry of activity going on all around, yet out of sight.

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

Hollywood’s decision to abandon this kind of storytelling is one reason why cinema in the 2020s has fallen into the doldrums and, when something like Black Bag arrives, it’s a bittersweet reminder of the potential of the big screen experience.

As much as the later movies diluted the character of the Frankenstein creature, nothing could blunt the impact made by Karloff in the role of the most memorable movie monster of all time.

Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).

The stakes of those deliberations are so high, the personalities of the jurors so forceful, and the arguments so pregnant with importance that there is no instance in which boredom threatens.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.

The Big Sleep remains one of Hollywood's most intriguing and enduring examples of film noir. It's a movie that every film student should study and every movie lover should watch at least once.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.

La La Land isn’t just the best made-for-the-screen musical to reach theaters in a very long time, it’s arguably the best (non-animated) cinematic musical of any kind since 1986’s delightful "Little Shop of Horrors." Yes, it’s more vibrant than "Chicago," more heartfelt than "Les Miserables," and more successfully staged than a chorus of other contenders.