The film’s style is impeccable, its comedic delivery perfectly timed, and its editing sharp and energetic. A biopic by way of expressionistic absurdism, it’s a bold and uproariously funny statement of intent.

Maestro may present exhilarating moments of musical performances, but unlike the story's subject, it is a rather forgettable experience. Still, Cooper continues to show promise as a director, even if the script he co-wrote with Josh Singer is not up to par.

It will lift up and squeeze your heart, crack you up with laughter, and give you a sense of hope and wonder in a way that few movies have been able to inspire. Lord & Miller have created something truly magical, and we'll be talking about this one for decades to come.

Natalie Erika James’ debut doesn’t just tug at the heart, Relic wraps around it and steadily sinks its teeth into it.

Thelma's plight is handled with respect, and by putting us in her perspective, Margolin allows us to empathize and see the world through her eyes.

Love Lies Bleeding transforms into a thrillingly grimy, seedy, Americana-and-fluid-soaked body-horror noir that's unabashedly queer and winningly deranged.

Shinkai is back with another magical teen story in Suzume, which got me in the gut yet again. 

Apples maintains the droll wit and entrancing abstraction of Lanthimos, but the film does not feel quite as drenched in irony. Nikou’s storytelling remains deliberately opaque while also leaving plenty of room for genuine emotional connection.

I can’t remember the last time a film shook me like this.

Mánver is astonishing as Cruz. The film gives the accomplished actress plenty of opportunities to shine. It's such a committed and warm performance, and a willingness to really dive deep into the psyche of her character means you won't be able to get her out of your head.

The ending is a massive disappointment, but it can't undo everything that came before it. Boyle and his team have conjured up a kind of sensory overload — the blend of violence, mixed-media, and a frequently jarring soundtrack swirl together with feverish effect. "28 Years Later" is both scary and touching, and that's not easy to achieve. It's impressive, effective, and memorable. But someone should have told Boyle to nix that finale.

This is a film about moving on and growing up. This is well-traveled territory in terms of subject matter, and nothing on display is especially groundbreaking or new. And yet, there's a nostalgic charm here that is compelling, and the writing, direction, and acting are all so strong — and that counts for something.

Spring Awakening: Those You've Known hits the majority of the marks you'd want it to. It's nostalgic and brimming with warmth, funny and heartbreaking secrets are revealed, and the archival and reunion footage of the show transports you to the emotional peak akin to the kind of highs you might've experienced watching it live, either back then or if you were lucky enough to see the reunion concert in the flesh.

Saying We Are Little Zombies is “a bit hectic” is a bit of an understatement, and yet, as Nagahisa’s passion project exploded across the screen, I found myself giving my heart to it.

The end result triggers a wave of empathy; not a kind of patronizing empathy, but genuine empathy — the type Ebert was talking about all those years ago. I doubt you've seen anything like The Blind Man Who Did Not Want To See Titanic before, and you might never see anything like it again. Certainly not from Hollywood.

The end result is a real pleasure, taking us along for a wild ride. Yes, it’s slightly too long, and Baker and his team could probably trim a bit to make things even tighter. Yet there’s so much charm at play, so much joy in watching even the moments of pain and embarrassment that it’s difficult to criticize.

Rather than portray its characters as glorious heroes bravely fighting for their country, or even ending the film on an optimistic note, "All Quiet on the Western Front" is tragic from beginning to end, and is relentlessly, almost unbearably, bleak. That's the point. It's the ultimate anti-war war film.

While Ian Bonhôte and Peter Ettedgui's documentary Super/Man: The Christopher Reeve Story recounts Reeve's journey with appropriate tenderness, it isn't a hagiography. It consistently reminds audiences that this was a real human being, and not actually a savior from another star.

From a movie-making perspective, The Trial of the Chicago 7 is sturdy but not particularly revelatory. But as a delivery system for great performers rattling off great dialogue, it’s almost unbeatable.

Carney has this genre on lock. No other working filmmaker has consistently captured what he's able to with his movies, zeroing in on the way music can bridge emotional distances.

Don’t expect any inspiring schmaltz from The County, but for those looking to understand the global nature of the struggles faced by those who dare to resist all-encompassing economic organizations, this movie delivers the goods.

Rebel Ridge delivers the goods. Pierre is the film's true weapon, and the movie wouldn't work nearly as well as it does without his cool-as-hell performance. The actor has striking eyes, and Saulnier realizes this, using lots of close-ups of Terry's face as he silently works things out.

This is as close to a multiplex contender as Porumboiu is likely to get, which may of course aggravate those that like their drinks sour, their bread hard and crusty, and their films to be as esoteric as possible. For those that don’t mind a bit of fun along the way this quirky, surreal crime thriller just might work its way into your heart.

The Pez Outlaw ends up being so quick, breezy, and fun, that it ultimately does its job and, unlike the chalky sweet Pez candy, never leaves a bad taste in our mouths.

It’s crass, it’s cruel, it’s wild, it’s often hilariously funny.

The Philippou brothers have a great grasp on nasty, shocking, Raimi-like horror, and that goes a long way toward tipping the scales in a favorable direction. Sure, the characters are making dumb choices, but there's enough creepy, spooky, bloody action to keep you hooked.

Tabsch and Constantini’s documentary is a reminder to thank the people in our lives who believe in us.

Like a beautifully constructed puzzle box, The Wild Goose Lake various layers unfold in satisfying ways. With elegant violence, emotional richness and a complex yet coherent storyline, this is a rare bit of crime thriller treat that truly pays off.