Thankfully, Studio 4°C’s sumptuous animation and sound design still make “All You Need is Kill” a vivid and worthwhile do-over.

The film introduces us to some intriguing characters, several of whom deserve their own movies, but it would benefit from a clearer focus.

There's so much detail and such a clear sense of dramatic proportion that it almost doesn't matter that the movie doesn't resolve itself traditionally or with a full stop. You can still get a clear sense of how time moves for the workers in Zhili in "Youth (Homecoming)" without necessarily knowing what comes next.

They Cloned Tyrone may bend under the weight of ideas, but it never breaks, largely because of its great ensemble but also because Juel Taylor clearly has an eye and an ambition that screams promise.

Come As You Are tells its story through empathy, compassion and what feels like winsome insider-y humor.

Anderson’s accomplishment here defies easy comparison. It’s not a comeback. It’s a beginning.

Religion can provide some solace, but it can also complicate matters. Science can explain the natural processes, but even then, it cannot account for every detail in every situation. To Dust is about those contradictions and, in the end, about the ultimate one: that, to some questions, the only logical and spiritual answer is that there isn't one — except whatever we make of it.

In Richard Gere’s deft, veteran hands, Norman Oppenheimer is consistently, completely fascinating. You may not be able to root for him, but you can’t help but feel for him.

Breillat’s approach is technically intimate yet tonally detached -- languid as a summer’s day, sometimes unbearably so, and often uncomfortably warm.

Farrow is an ideal centerpiece presence for "Surveilled," because he's both a good reporter and a crisp communicator. He uses purposefully scary language, not just to scare us (though he does), but for maximum clarity.

What Taylor and his game cast, led by Selma Blair and Nicolas Cage, do get right will leave you excited, and eager for more.

Mamet’s stark existentialism comes to a shudder-inducing yet mordantly satisfying head in this expertly rendered picture. The text might not be vintage Mamet, but it’s a real meal.

At its best, López’s movie has that del Toro signature style, and she also proves herself a deft director of children, another element she shares in common with the Oscar winner.

This is a more-than-solid observational comedy with a melancholy undertone, reminiscent of early Albert Brooks movies like “Modern Romance.”

The Road Movie operates on a unique tonal wavelength, one that’s both manic and oddly comforting.

What we’re seeing in “September 5” is the birth of live news as entertainment. It’s the opening salvo in a long and sadly successful war against journalistic ethics and ideals that would lead to the current pathetic conditions of cable and Internet “news,” which consist largely of “takes” rather than original reporting.

It's to the credit of Anthony, who wrote and edited as well as directed, and his cinematographer Corey Hughes, that you come away thinking about parts of the film that felt like cut-able digressions and undergraduate musings when you were watching them.

If it were possible to splice the DNA of William Faulkner and John Cassavetes, the resulting progeny might produce a film like Roberto Minervini’s The Other Side, an immersive, almost harrowingly naturalistic plunge into the lives of marginal Louisianans obsessed with guns, drugs and belligerent resentments.

Nothing will break your heart as much as watching this man, desperate to keep this woman in his life, waltzing around the room with a laptop in his arms while staring into her faraway eyes.

It is a good thing these actors are charming enough that they aren’t too hampered by a long string of fish-out-of-water gags.

No one mentions it explicitly in the movie, but this film could be in the curriculum of a grad school course on Critical Race Theory, which is not, as some confused people claim, about diversity training in corporate offices or amending history books in grade school.

Chen is influenced by the French New Wave, and there are echoes of "Bande à part" and “Jules and Jim.” But do not let the meandering series of scenes, underscoring the characters’ aimlessness, allow you to overlook Chen's precision in even the smallest detail.

It's satisfying, for the most part—a solid romantic comedy with sharp dialogue, amusing characters, a soundtrack of well-worn feel-good hits, and a few surprises up its sleeve. Its only major flaw is an inability to imagine the bosses as richly as the leads.

Despite that emotional distance, the film is carried by young actress Lea van Acken, forced to really emotionally deliver given the lack of camera tricks some actors use as a crutch.

This movie should probably be considered more promotional material than journalism, but that's not necessarily a bad thing because it's the most intellectually stimulating kind of promotion, concentrating on the illumination of the artistic process rather than cliches and hype.

This isn’t a classic, but it’s good enough to make you think Fuller has a classic in him.

It’s a pretty good movie that, thanks mainly to its performances, has a lot more life than you might expect, given the concept and the formulaic way that it hits its major story points.

Dibbs does a fine job bringing a nuanced, realistic visual style to this venerable tale of war’s cruel and colossal wastes, and his actors are all first-rate, with Bettany a special stand-out.