As the saying goes, I may not know art, but I know what I like. I like this movie.

The result is a work in which style and story unite to create a singularly mesmerizing look at a culture within a culture.

Even if you lack a wealth of rap knowledge, Sample This is still worth seeing. Like "20 Feet from Stardom" and "Standing in the Shadows of Motown," it focuses on the studio musicians whose contributions are well-known but whose identities are not.

Feels more like a collection of interrelated short stories cobbled into an flavorful but ultimately unwieldy narrative.

A puzzle movie with too many unnecessary pieces and not enough essential ones, but it's superior to its predecessor in a few basic ways.

A pretty uneven film, lurching from comedy to violence to sentiment, but it's best when it sticks in the realm of flat-out farce.

In the days since, I have found myself thinking about these characters at unexpected moments. Maybe the film, like its characters, just needs a little time to grow on you.

The footage of Bordeaux is awe-inspiring, with aerial shots of the great chateaux and the vineyards. Closeups of the labels from the different chateaux abound, along with luscious shots of glimmering wine being poured. The obsessive nature of the entire industry is reflected in these shots, a good marriage of theme and form.

Are you consumed by an overwhelming desire to fork over the price of a movie ticket in order to see the kind of meagerly funded nonsense that the SyFy network provides for the price of a basic cable package? If the answer is yes, then Bounty Killer is right up your alley.

Like bad houseguests, the creators of Hell Baby overstay their welcome.

A solid, genially retro entertainment.

An earnest and important film. It deserves to be seen by anyone who is interested in documentaries and anyone who is interested in the simple human stories movies too often overlook.

Adore is, as my late mother would say in describing Sidney Sheldon novels, "good trash."

If this particular kind of performance is not your cup of tea (and, admittedly, it is not mine), you might find yourself resisting the journey of female empowerment and the uplift that's ultimately in store.

The ultimate invasion of its subject's privacy.

Ultimately, Winnie is a woman who seems to embody the paradoxes of her country's turbulent history.

Twohy's script contains macho dialogue so ripe it's embarrassing to hear it.

It's not the most original of concepts, and writer-director Liz W. Garcia struggles with the tone throughout, but The Lifeguard is often saved by Kristen Bell's sensitive and complex performance.

The result is a dreary and derivative thriller that is nowhere near as smart or controversial as it clearly believes itself to be.

Someday, we may get the true story of One Direction behind the scenes, full of fears and fights, egos and eccentricities. But today is not that day, and Spurlock is clearly not that storyteller.

I Declare War is like high school English class, rife with confusing symbolism and full of sound and fury that ultimately signifies nothing.

This cannot end well—we know this—but the major turn Afternoon Delight takes is jarring and irreparable.

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

The car chase thriller Getaway has a wild premise and few good moments, and if there were an Oscar for wrecking police cars, it would absolutely win.

Despite the bleak-ness of the situation, the film vibrates with color, noise, music, ferocious arguments (both serious and teasing), and eye-catching snapshots of everyday life in Havana.

Thérèse never goes beyond that level of psychological complexity because after a point, Miller and Carter aren't interested in exploring the murky depths of Thérèse 's feelings.

Crazy, violent and shocking events go down in Paradise: Faith — events that will startle the devout and non-believers alike — but Austrian director Ulrich Seidl depicts them all with same sort of monotone detachment he uses in the film's more mundane moments.

The Grandmaster is a drunken love letter to experience, which helps us survive, and wisdom, which helps us face aging, loss and, ultimately, the abyss. Wong, who was called the coolest director in the world when he was much younger, is now 57. This film is about a man like him, who has proven himself in the world and enters mid-life exuding a new, sage kind of cool.