For some viewers, it will be more than they want to know, but for Lynch’s many partisans, it’s required watching.

Alas, the main thing that comes through in Heaven Knows What is that a junkie’s life is really, really monotonous.

There is a maddening sense of dislocation through much of the movie -- a feeling that genuinely fascinating questions have been squeezed out by woo-woo philosophizing and material (like Glennie's brief return to the family farm) of only minor import.

The look of the film is first class, with muted colors but deep textures, the opposite of historical kitsch.

Has that Dickensian spirit wherein simple acts of kindness can bring an audience close to tears.

Bound by mother-daughter ties that are complex, touching, ultimately so powerful they yield the kind of tearful joy rarely experienced at the movies.

A very smart noir about gambling, smartly directed by Mike Hodges -- until almost the very end. It craps out in the decisive London casino heist scene.

Paradis, an actress and pop singer, is sensational.

Director Nicholas Hytner doesn't soften or cosmeticize Miller's tale -- it's often uncomfortable to watch -- and he draws an emotional pitch from his actors that helps us understand the mob fury and irrational fear that make a situation like the one in Salem possible.

Goodbye to Language seems like an appropriate title if it’s meant to suggest that logic and sanity have completely disappeared from this world.

The aerial cinematography is breathtaking: We can feel the fragility of the planet, but also its power to heal — if only we give it a chance.

The artistic signature is unmistakable — 30 seconds in, you’d know you were watching a Wes Anderson movie. But Anderson’s human connection seems to have short-circuited, so that his irony now bypasses the world and becomes an ironic contemplation of his own work. This is a dead-end, and it’s just not interesting.

Captures one of the wildest, most heartbreaking episodes in Gilliam's career.

Dark, menacing and sexual, with satanic overtones, like a Black Sabbath song, with many moments of genuine fright and harsh eroticism. [19 September 1986, Daily Notebook, p.76]

Unfolds as a masterful chess match of wit and ingenuity, a cat-and-mouse chase of the highest order.

You should have the opportunity to experience the movie the way I did, in complete ignorance, enjoying its every weird turn.

His personal efforts are praiseworthy, but if glacial melting is in fact the "canary in the climate coal mine" (his words), the movie might have given us a bit less of Balog and a bit more of the startling sequences he produced.

A film of great hilarity, humanity, idiosyncrasy and grade-A, eyebrow-singeing raunch.

Benedetta continues Verhoeven’s strong run with as good a movie as he’s ever made.

Documentaries can be informative, entertaining and provocative, but rare is the documentary that makes you feel so engaged (and enraged) that it prompts you to action somehow. Tibet: Cry of the Snow Lion is that kind of film.

Very good at pointing out the social difficulties surrounding the Dickens-Ternan relationship, the power dynamics within it and the lasting effects of it.

Tully doesn’t expand as it goes along. It feels insulated and hermetically sealed, and it seems to get smaller.

Elizabeth works in a number of ways. It's a feminist film. It's also a kind of spy thriller and a superior historical drama.

Despite any weaknesses, the movie still does what Morris does best. It digs deep into the details of how some terrible idea was mismanaged in execution.

A triumph of simplicity, innocence and goofy jokes.

Every now and then, an interesting character pops up: Kyra Sedgwick, almost unrecognizable, is quite good as a homeless woman who collects aluminum cans. But these moments are as fleeting as George’s grip on reality.

Across the veil of years, we have seen tall Churchills, obese Churchills, sloppy Churchills, gross Churchills and scowling bull dog Churchills, and yet not one movie or TV Churchill has come close to giving us the man in full, both in look and spirit, until Gary Oldman in Darkest Hour.

Virtually everyone who sees this movie will be galvanized to do something about global warming -- and everyone should see this movie.