The movie needed great performances, and it gets them from Ryan Reynolds and Ben Mendelsohn.

Coppola gives Suicides a haunted quality that is undeniably affecting, a feeling intensified by a wonderfully funny and touching Dunst.

This no-bull spellbinder is allergic to sentiment. Unlike porn, Wetlands keeps its humanity intact. And if Oscar didn't have a stick up his ass, Juri would be a nominee for Best Actress. Yup, she's that good. Your move.

Ed Harris, who plays Pollock and makes his debut as a director - doing both jobs superbly, by the way - is angst incarnate.

In this risky, riveting film, our most prolific and provocative moviemaker uses his wit to touch a nerve. Crimes and Misdemeansors is so funny it hurts.

Through haunting home movies, Mina's diaries and interviews with Mike, a raw, riveting portrait emerges of what a child sees in his parents' relationship and what lies beneath.

Writer-director Damián Szifron hasn't made one film — he's made six, stitched together under one title and sent out to a world that may not be ready. Screw the pussies. Wild Tales is gleefully out for blood.

Corpus Christi doesn’t skimp on the humanity; the film earns the slow smiles it brings to your face.

The Sound of My Voice ends with a very different voice, as we see Ronstadt, filmed this year, attempting to sing a Mexican folk song with a cousin and nephew. Parkinson’s has clearly weakened her, but she still watches her relatives attentively and opens her mouth to verbalize along with them as much as possible.

It grows thrilling to watch. Rathjen’s careful script and intensive eye for environmental details deliver all of this to us with a steady rhythm.

It's pure cinema, a hypnotic and haunting dream that tempts us to jump in and get lost. Do it.

All credit to a finely tuned Brosnan for packing so much intensity and wayward wit into his scenes with McGregor. Their verbal duels make for a dazzling game of cat-and-mouse.

In the hands of first-time feature director Shannon Murphy — who crushed it in both of the Season Three Killing Eve episodes she helmed — and screenwriter Rita Kalnejais, who adapted her own play, Babyteeth rips past the hackneyed tropes of illness drama to dig out what’s fresh in the familiar.

A visual marvel that cuts a direct path to the heart.

As the cases mount and institutional reps succeed best by playing dumb, The Hunting Ground becomes a energizing call to action, a potent provocation that’s been too long coming.

Comedy really is hard. So it's a kick when a filmmaker gets it right, as Noah Baumbach does in this stingingly funny take on aging.

For three years, the camera focuses on the Chicks as wives, mothers, entertainers and political flash points. Their fight to stay uncompromised is inspiring.

For those of us who’ve been enthralled by what Collins has done on the periphery, the chance to see him occupy center stage — and in something so suited to his skill set — is enough to make this worthwhile. But the way in which he keeps both the rest of the cast and the story itself in the pocket without making it feel like a showreel, even down to his final here’s-the-big-payoff sequence, is what makes this special.

It’s a music doc that takes its music-doc responsibilities seriously.

McConaughey makes sure we feel his tenacity and triumphs in the treatment of AIDS. His explosive, unerring portrayal defines what makes an actor great, blazing commitment to a character and the range to make every nuance felt.

It’s all a very by-the-books music biopic, which the sole exception of which species is singing about manufacturing miracles and angels contemplating his fate.

A movie that offers hard speculation and harder truths. You won't be able to get it out of your head.

The Promised Land is, if nothing else, a nod to both its nation’s and the movies’ past. The feudal warring over unclaimed Jutland territory may be strictly Danish, but the excitement, romance, and awe-inspiring visual spectacle of this melodrama is vintage Hollywood.

The film belongs to Firth. Uncanny at showing the heart crumbling under George's elegant exterior, he gives the performance of his career.

Its truths are personal. It means to shake you. And does.

No wonder Kurt Cobain was a fan. But it's the way Feuerzeig walks with him on the line between creativity and madness that digs this haunting and hypnotic film into your memory.

Australian writer-director Jennifer Kent creates a woman’s revenge tale fueled by a righteous anger at the evil men do. There’s not a whit of audience coddling. You’ve been warned.