Free Chol Soo Lee is not a true crime documentary. If anything, it goes out of its way to avoid becoming one.

Whether or not Casino meets your expectations, it delivers the rush you only get from an audacious gamble.

As a film about two gay men in their middle age, Supernova does all the right things, anchors its sense of conviction in rhythms and silences, in-jokes and private conflicts, that cohere into a natural portrait of being together. In a word, it’s a solid, emotive drama, all the more so for the pain at the movie’s center being equally natural, valid, inevitable.

A hilarious hodgepodge, in which De Niro gives his best comic performance to date.

There's enough plot here to sink a soap opera, but the actors prevail. Parker is a no-bull charmer. Driver leaves bite marks on her juicy role. And Mbatha-Raw, so good this year in "Belle", is dynamite.

The go-for-broke intensity and emotional layering Watts brings to her role is an acting triumph. And McGregor matches her in a performance of ferocity and feeling.

In the guise of a nerve-jangling thriller, director Gabriele Salvatores, an Oscar winner for "Mediterraneo," delivers a fierce, frightening and deeply moving study of childhood. It's a keeper.

It’s one of the blackest comedies to hit the screen since Dr. Strangelove. Spurlock proves himself a supersize talent; he makes you choke on every laugh.

An offbeat mix of typically quirky elements, and it could have easily been hard to stomach. But the author and director Lasse Hallstrom's affection for these characters shines through. Their greatest asset is the young Leo himself, in his first Oscar-nominated role, bringing great sensitivity and complexity to a part that might have come off as cloying or cynical.

The interactions between the people may seem small in comparison to the wide-open landscapes and rolling hills. In the hands of everyone involved with this moving drama, however, they echo long and loudly nonetheless.

The specter of war haunts Cold Mountain, but you remember it for the heat of its romantic yearning and the mysteries that wrap themselves around you until you're lost in another world.

It’s the old Monkees trick: If you can’t find a band, manufacture one. British director Alan Parker (Fame, Mississippi Burning) lucks out. The dozen unknowns he’s chosen — ten with no previous acting credits — make a joyful noise and rousing company. Parker, however, hasn’t made much of a movie.

What do you say about a movie that proves Zac Efron can act, introduces a master thespian in Christian McKay and launches a charm assault that is damn near irresistible? I say, see it.

Eastwood, working from a script that Jason Hall adapted from Kyle's 2012 memoir, fuses the explosive and the sorrowful as only he can. That's why his film takes a piece out of you.

This film isn’t for everyone’s tastes. Then again, neither was Sorry to Bother You‘s mix of critical commentary and absurdist comedy; and, like that film, I Love Boosters takes a wilder, big-picture swerve in its third act. Still, you have to admire the fact that Riley is weaponizing his humor and using it to brusquely jostle your brain by any means necessary.

Owen Kline’s script is boisterous, funny, and very much committed to the bit. This is a movie about junior independence, after all, about a slightly full-of-himself young talent who’s journeying out on his own for the first time. So Kline makes sure the journey is memorable.

It's a powerful and provocative achievement from a first-time filmmaker of enormous promise.

Setting it against the backdrop of a wanton city under siege, Schroeder crafts a film of whiplash urgency.

The plot is too implausible to rank with "Unforgiven," but, oh, what a fun ride.

News Flash: Tom Holland is the best movie Spider-Man ever. He finds the kid inside the famous red onesie and brings out the kid in even the most hardened filmgoer.

His singing voice and records remain the definition of acquired taste, and King for a Day won’t necessarily send you back to his songs the way other first-rate music docs can. But watching it, you feel glad that such a genuine oddball lived his particular dream and never revealed any public bitterness over the arc of his life. His legacy, it turns out, was the last thing from tiny.

Watergate is an extraordinary dossier on what remains a major black mark on the republic. It’s also a sobering reminder that just because we were able to stop it once doesn’t mean we can relegate it to our country’s back pages. Consider this a cautionary tale.

What's on screen in The Grandmaster is off-puttingly disjointed, but it's also dazzling in its startling action and ravishing romance.

A lifetime in movies runs through this prime vintage Eastwood performance. You can't take your eyes off him. The no-frills, no-bull Gran Torino made my day.

It’s a movie that knows in its bones that there are no easy answers. Just the human struggle to find connection. And it’s that vision of unadorned, no-bullshit life, played out against the background of Hollywood film fantasy, that makes a connection so strong that audiences won’t want to let go.

The Killer is slickly directed and propulsive — this is a Fincher film, after all—amplified by an eerie electronic soundtrack from regular collaborators Trent Reznor and Atticus Ross.

You’ll still spend close to two hours wondering whether Splitsville wants you to walk away thinking that you’ve seen something semi-sweet or almost irredeemably sour. The key is recognizing how satisfying things feel when they somehow manage to split the difference.

What Cars teaches is how to blend brash comedy with technical astonishments so that each enhances the other. I can't imagine who wouldn't want to test-drive this one. Like the promos say, "It's got that new-movie smell."