It’s a movie about a geeky teenager living in the Los Angeles hood, and something about it, or rather everything about it, feels real.

Guadagnino’s filmmaking has never been more vivid.

It’s not a cookie cutter superhero film or predictable horror film. That’s the good news. The bad news is that it’s form without enough content.

It’s a charming throwback to the martial-arts films of the ’70s and ’80s, with dazzling combat sequences punctuated by stiffly delivered exposition and hammy acting.

If you were ever wondering what "Die Hard" would have been like if Neil LaBute directed it as an art film, prepare to enjoy Lovers of Hate.

The movie is silly and fun enough to enchant younger audiences, not to mention impart life-balance lessons that kids from 8 to 80 ought to know.

Even to those familiar with the bizarre affair, “JT Leroy” offers some new insights, not only because of the presence of Albert and her home movies, but also because of a treasure trove of phone recordings between JT and numerous luminaries.

Long before the finish, Possessor descends into ugliness, with grotesque scenes of violence and lots of blood. You may feel creeped out, like you want to take a bath. But no, not in a good way.

The protagonists and their idle dreams of a fiery wasteland may well be nihilistic. But the movie - with its stunning cinematography and lingering aftertaste of old-school heartbreak - most assuredly is not.

It’s also a film with horrific shots of open graves. By all means see it if you have the inclination, but do be aware of the experience you’re letting yourself in for.

At 2 hours, 21 minutes, feels like a slow death by a thousand cuts.

Just as essential is Seth Rogen, as Adam's best friend. Rogen isn't even 30 yet, but he is already an important actor - not just because he's popular but because he best embodies this particular comic moment.

Guest's boldest move is to present the revue in its entirety. It's as if Mel Brooks had shown the complete "Springtime for Hitler,'' the play within his 1968 movie, "The Producers.''

Driver keeps their tales engaging with great music and vintage clips of CBGB, Club 57, the Mudd Club and the crumbling Lower East Side.

The pacing is superb, quick and agile without being frenzied, and the special effects are jaw-dropping.

There are extraordinary and beautiful things in War Horse, enough of them to make the movie a pleasure and a worthwhile experience, though not enough to trick the eye or get you believing this movie hangs together.

The unsure approach to rich material (based on a story about a newspaper’s homophobic coverage of a drowned man) mixes the sexy and grotesque — and cancels each other’s good parts out.

A one-joke documentary stretched, with surprising success, to full length.

Gluck also directed "Fired Up!," another teen charade with lots of quick-witted verbal raunch. Easy A does a few things better.

Daring in its affirmation that a dowdy woman in her late 60s still can let go of her inhibitions and exhibit a lascivious side.

To be sure, Censored Voices can hardly be seen as anything but a political document, one that shares Oz’s views.

At first, The Oath looks as though it will be a study of the soul-corroding effects of twisted ideology, but it emerges as the reverse.

Stop laughing long enough, and you'll see that it's a picture about compromised lives and love for sale. But no one who watches Priceless will stop laughing for that long.

In the riveting Transsiberian, a train of that name adds international intrigue to the mix.

Sexy, surprising romance.

It's shockingly funny - you don't sit there deciding to laugh. Your own laughter catches you by surprise. [14 Apr 1989]

Though the movie isn't wildly original, its time-tested, artistic mantra of "just go out there and do it" is hard to resist.

While this final segment is the least satisfying, it’s impossible not to be impressed with what Ma accomplishes in the film’s brisk 80 minutes.