The result is both a madcap success on its own bizarre terms and an informative distillation of each auteur's sensibility.

Paddington in Peru is pleasurable mainly for its just-hanging-out-with-friends vibe, which it wears with quiet grace.

Caveat is a masterpiece of understatement for a title, and a witty opener to Damian Mc Carthy’s directorial debut, an impressive and often terrifying film, taking place almost solely in one location, with two people trapped in a moldy dimly-lit house.

Moreno, who is brash and self-effacing, thoughtful and charismatic, has such a commanding presence on camera; every time she speaks, you unintentionally lean in a little closer, hanging on to every word she has to say.

“Vol. 2” avoids many of the flaws of the first movie, and does several things notably better. It’s fun, clever and a great kick-off to the summer movie season.

Regardless of its technical faults, there is bravery here as Lopez opens up her old wounds for all to see, sharing her biggest mistakes, her deepest scars, and the work she put in to heal herself first, before she could be ready for the love story that she grew up so desperately wishing for.

If you treat Tomorrowland mainly as an immense cinematic theme park that unveils a new "ride" every few minutes—just as Bird's last feature, "Mission Impossible: Ghost Protocol" was mainly a series of action scenes—its weaker aspects won't be deal-breakers.

For the most part, So Late So Soon is a moving and thoughtful meditation on the inevitability of aging and mortality and the unstoppable lure of the creative process.

In a summer of antiseptic effects spectacles, Elysium stands out for its grime and intensity, as well as the bluntness of its class allegory.

There's something refreshing, at times remarkable, about the sureness of the acting, and the filmmaker's touch.

In many ways, Zhang’s latest is the coldest film that he’s made in a while, though it might also be his most alluring.

It’s a throwback to goofy action movies that don’t get made at this budget level that often anymore, a time when major studios would release an original flick about massive sandworms in the desert or J. Lo and Ice Cube fighting a giant snake. To that end, despite a clunky set-up, “The Gorge” delivers on its potential.

April is as exquisite as it is excruciating: a film that will linger with you long afterward, but you’ll probably never want to watch it again.

This movie will be of particular interest to students who want a lively, thoughtful presentation of basic historical subjects but aren't going to get it in classrooms where the curriculum is approved by people who are mainly concerned with avoiding discomfort and preserving the status quo.

This movie is a remarkable feat that requires a strong stomach to sit through. I was unaware, prior to seeing it, that it’s based on a true story, and the movie’s coda was that much more powerful for me as a result.

Cinematographer Samuel Calvin is to be commended for his striking work, and Reece shows an intuitive understanding of when to move the camera, and—more importantly—when not to move the camera. It's all very elegantly put together.

It’s commendable that the film is committed to the character-based world building evident in the first “Creed.” With this sequel, however, the Creed franchise seems destined to travel the same road the Rocky franchise did; the intensely personal and original vision of its creator is slowly being corrupted by the seductive demons of fan service.

To be fair, “Smile 2” does lose some of its many thematic threads about how fans feel like they own pop stars and how so many of them are asked to bury their trauma and just smile, but enough remain in the foundation of the piece to get it across the finish line.

This is a sports melodrama played like a Billy Joel concert, with enough well-honed showmanship and passion to make even its cheesiest qualities seem like an unpretentious celebration of Patton’s everyman.

Any movie that can bring to mind a Joni Mitchell song as the credits roll — “Don't it always seem to go that you don't know what you've got 'till it's gone” — has earned its keep.

The Widowmaker, narrated by Gillian Anderson, is a disheartening portrait of blatant greed, as well as a fascinating examination of the trial and error process used in the scientific method.

The documentary “We Are Guardians” tracks the constant conflict between the ecological and spiritual significance of this crucial section of Brazil and the commercial forces that brazenly invade to strip it of its resources.

Our Nixon seems to be more interested in evoking emotional than intellectual responses.

In the Earth is a film made for midnight showings. It's ominous, brutal, pretentious, and often stirring. Even though some sections feel rushed and it falls apart at the end, every part of it is memorable.

When Ebo concentrates on the satirical aspects that mock the hypocrisy she’s exposing, “Honk for Jesus. Save Your Soul.” hilariously fires on all cylinders. It’s when the film tries to juggle the darker aspects that its seams start to show.

Told in a style that could be called old-fashioned due to its lack of cynicism in an era when heartfelt melodrama is often mocked more than celebrated, it’s fair to call this engaging drama a throwback, a movie that wants to sweep you away on the back of its passion and heartbreak.

Yamazaki’s style, like his movie’s politics, only looks conservative when compared to his predecessors. He made a good Godzilla movie, if not a great one.

The film will surely have its own role to play in the arena that perhaps counts most: the court of public opinion.