May indeed induce dizziness, sweating and hot-and-cold flashes among politically minded leftists.

The influence of early Alfred Hitchcock is all over this movie, translated in unusual and original fashion.

Beyond its easy-on-the-psyche message, the picture is reasonably pretty to look at.

As a movie, it's a disaster. As political speech, it's imprecise, shrill and sometimes clichéd, but it's also alive.

It’s masterfully shot and edited, with a brooding soundtrack and a mysterious, dreamlike undertow – and, when all is revealed, it’s not even half as interesting as it seems to be.

Cameron manhandles the real story, scavenging it for his own puny narrative purposes. It's a film made with boorish confidence and zero sensitivity, big and dumb and hulking.

There is a balancing act at work here that sometimes makes the film seem too careful, but I found it a lovely and supremely moving experience, a haunting symphony in a minor key if not a knock-your-socks-off masterpiece.

It's an unholy mess, simultaneously too Gothic and too sarcastic, that preaches liberation and delivers only puritanism. It's a craftsmanlike but robotic imitation of "interesting" filmmaking, only in patches, and by accident, the real thing.

It's a fascinating human story and a film as pure as ice water

In some ways, this is the most conventional of Sheridan's movies. But it never feels sentimental because of the grittiness of his approach.

I personally find the Russo brothers’ lightning-fast action scenes difficult to process — it’s as if cinema editing now exceeds the speed of human brain functions — but they’re undoubtedly exciting and skillfully constructed.

This is an elegant, powerfully emotional and courageous film, worth seeing entirely on its own artistic terms, and also for what it conveys about the complexity of African-American life and the resurgence of African-American cultural expression.

A story about risk, about hubris, about youth, about the old way and the new way, and about what happens when you trade everything for something that really isn't there.

So seamlessly buoyant and enjoyable that it's easy to miss how carefully and sensitively it's made.

There's a maddening ambiguity at the core of writer-director Dylan Kidd's remarkably cynical, and bracingly intelligent, debut movie. It's the kind of thing that is just nasty enough to start arguments in cafes and bars.

Is legendary Hollywood producer Robert Evans feeding us a load of crap in this documentary? When it's this much fun, who really cares?

Bourdieu's cast is terrific throughout. Any fellow academic brats out there will especially appreciate Jacques Bonnaffé, one of the greatest French comic actors, in an imperious turn as the severe, guru-like professor.

Well-enough made and highly watchable, but it lacks the one thing that would put some swing in its step and some swagger in its attitude: a sense of jazz.

I basically really enjoyed this movie, even while lamenting that I was enjoying it under mendacious premises and that there was something fundamentally cynical about its elegiac, retrospective tone.

I would simultaneously argue that Sheil and Greene go off the rails several times during Kate Plays Christine, most notably in their overly artful and self-conscious attempt to re-enact the shooting but also that they get viewers closer to the real Christine Chubbuck than I would have thought possible.

It's by no means the greatest Altman, and not even a great Altman. And yet, even though it was written and conceived by Garrison Keillor -- as a fanciful fiction that draws on elements of his popular radio show -- it is somehow pure Altman.

If it plays in any theaters beyond New York and Los Angeles, that'll probably come as a surprise to its distributor (the estimable Lorber Films). None of that diminishes the power and intensity of this claustrophobic mini-masterpiece of the Japanese antiwar tradition, which blends a B-movie aesthetic, brilliant use of montage and documentary elements and a scathing critique of nationalism and militarism.

Trainwreck is not very good, but Schumer is frequently amazing in it. Officially, her fans will not be disappointed; not far below the surface, it’s a bummer.

As close to mainstream perfection as I've seen all year. It gives us everything we want, need and deserve without batting an eye.

A bad movie -- really a terrible movie -- with a daring idea behind it. And it's had the sort of crummy luck that, no matter what you think of it, can get you steamed.

Intriguing and often hilarious.

Comic, disturbing and affecting by turns, and often all at the same time. Its funniest scenes are also its most unsettling.

In Okja, Joon Ho takes animal cruelty and corporate capitalism to slaughter. And yet, he doesn’t preach or pander.