It's a wild, whacked-out wonder. Coenheads rejoice.

Long after the dance-movie thrills are in the rearview and before the images turn themselves upside down — before the movie becomes a literal danse macabre — you find yourself impressed by the fact that he’s not out to recreate a bad acid trip. He’s trying to create his own bad trip sans the drugs. And the fucked up thing about it is: You end up wanting to go along for the ride.

The story is stock, but thanks to the behind-the-scene fire wranglers, you can practically feel the heat.

Co-written by Selick and Peele, Wendell & Wild has a nagging tendency to throw a lot at you and simply cross its slender, skeleton-ish fingers that even a little of it coheres and sticks.

Douglas never makes a false move, delivering a tour de force in human weakness.

Dull title for a juicy, fact-based caper movie that's full of surprises I have no intention of spoiling.

Taking it's framework from classic fairly-tale characters like Cinderella, the British story of Little Voice is one of compassion, humor and music.

A movie of potent provocation and surging humanity that ranks with the year's best.

There’s no contrived digital sleight-of-hand in Spider-Man: Far From Home that can match what Holland does: He makes the MCU feel new again.

A mesmerizing erotic odyssey.

Berg's unquestioning faith in law and order could have used, well, a little questioning. But there's no doubt about the worth of the movie as a well-earned tribute to the heroes and victims of a tragic event that may have just made Boston stronger.

In a multiplex filled with empty New Year vessels (take that, Kangaroo Jack), this holdover grabs you hard.

Green made the wise choice to be funny in telling his sad story.

Are we always still in high school in our heads? 21 Jump Street thinks so. And Hill and Tatum are just the crazy-ass comedy team to prove it.

Mamet is on his game, and that is a sight to see. No con.

You can tell there’s a voice and vision behind Selah and the Spades, one that’s likely to come into its own after some seasoning. It might seem like faint praise to throw a “watch this space” sign on top of what is indeed a more-than-impressive first movie.

Spends too much time covering ground well known from the headlines. But the scenes of the couple at home with their children and friends are uniquely fascinating, if not, in Wilson's words, "very 007-ish."

Mellencamp has made an admirably unfussy movie that sneaks into your heart with the hypnotic power of a song.

Is this moving-picture love letter overly sentimental, sloppy to a fault, and slightly more affectionate toward its posthumous subject than a basket of puppies high on laughing gas? Yes. Does that mean that, in its own way, it perfectly mirrors Candy’s own tendency to overdo it and still make you like him, really, really like him? Also yes.

In Guncrazy, Davis delivers pow entertainment with a twist: It matters.

The line between suspense and manipulation can be mighty fine. But The Deepest Breath walks it well. The filmmakers know they have a good story on their hands, and they shape it with sensitivity to the star-crossed divers and to the viewer. In the end it is well worth the plunge.

Driver's tough core of honesty and wit is bewitching. So's the movie.

Though The Drop covers familiar ground, it simmers with charged emotion. The image that lingers belongs to Gandolfini.

Wells is a wonder with actors - Cooper and Jones earn top honors - and a filmmaker with an instinct for the emotions that bleed between the lines. This haunting movie hits you hard and right where you live.

In Kill Bill, Tarantino brings delicious sin back to movies -- the thrill you get from something down, dirty and dangerous.

Woods delivers one of his all-time great performances and Stone demonstrates the sheer ambition, both thematic and filmic, that would become a career theme.

Scott Pilgrim is a breathless rush of a movie that jumps off the screen, spins your head around and then stealthily works its way into your heart.

Director-writer Martin Hynes shapes his first movie into something emotionally truthful, painfully funny and vibrantly alive. It's a near-perfect road movie, since you don't want the ride to end.