Jason Reitman's new film skillfully navigates through the personal melodramas of many characters with a nice sense of balance and a sharp appreciation of generational differences.

At once a touching adolescent love story and a visually evocative portrait of society torn apart by literally competing forces, Patema Inverted is an uncommonly ambitious animated effort that beautfully illustrates the need for both physical and emotional connections in a topsy-turvy world.

The director clearly takes depression and suicidal urges and the possibility they may be hereditary very seriously but that doesn’t mean that the film isn’t often very witty.

Distilling a couple of decades of stunt work and second-unit directing experience into 96 minutes of runtime, Stahelski and Leitch expertly deliver one action highlight after another in a near-nonstop thrill ride.

A deeply satisfying pop biopic whose subject's bifurcated creative life lends itself to an unconventional structure.

Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails.

[Aubrey Plaza] adds something different to Hartley’s usual hijinks, making for a crime dramedy that’s ostensibly quirky, but also short, sweet and quite moving.

This small gem offers a lovely evocation of Spain as well as a touching tribute to an unforgettable moment in time when the Beatles seemed to offer brand new possibilities, the idea that strawberry fields might indeed go on forever.

It takes a little while to get in gear — or perhaps just to adjust to what's going on here — but once it does, Deadpool drops trou to reveal itself as a really raunchy, very dirty and pretty funny goof on the entire superhero ethos, as well as the first Marvel film to irreverently trash the brand.

This highly entertaining return of one of the cinema's most enduring giant beasts moves like crazy — the film feels more like 90 minutes than two hours — and achieves an ideal balance between wild action, throwaway humor, genre refreshment and, perhaps most impressively, a nonchalant awareness of its own modest importance in the bigger scheme of things.

Red Army is a slick, witty, fast-moving blend of sports story and history lesson.

A thoughtful, emotionally tricky debut benefitting from two strong lead performances.

Two excellent performances bolster a thoughtful script, and the result is that the discomfort we feel seems perfectly controlled by the filmmakers. The movie is candid and disturbing but never exploitative.

Some of the film’s most effective moments are masterful in their visual storytelling skill.

Ribeiro’s screenplay, which is marbled with moments of humor as well as emotion, feels extremely well-tuned into the conflicted emotional lives of his adolescent characters, who often retreat into the safety of their childhood comfort zone after every exciting, but also scary, excursion into the adult unknown.

Shot over the course of several years, Evolution of a Crime is often rough-hewn in its execution, but it's deeply moving nonetheless.

Director Peter Berg and star Mark Wahlberg deliver the goods again with a rugged drama about an incident that created an environmental disaster and a worldwide scandal.

Visually arresting as it is, the pic stands out mainly for its subject matter, the first documentary on blind chess, even though it fits snugly within the sub-genre of underdog stories.

Serves to not only put a very human face on this horrific condition but also as a triumphant valedictory of Campbell's poignant farewell tour.

Revenge of the Mekons is a buoyant exploration of the musicians’ devotion to their art and each other.

Seamlessly melding Marvel mythology with Western mythology, James Mangold has crafted an affectingly stripped-down stand-alone feature, one that draws its strength from Hugh Jackman’s nuanced turn as a reluctant, all but dissipated hero.

The relatively laidback angle on all the murderous spree-ing gives Chris Hemsworth a chance to find the comic groove beneath the title character's beefcake godliness. He does it expertly, and the self-mocking humor is all the more welcome given Thor's essential blandness.

A clear-eyed, compelling look at getting out the vote, grassroots-style.

The actors are all seen to very good advantage. Boseman certainly holds his own, but there are quite a few charismatic supporting players here keen to steal every scene they can — and they do, notably the physically imposing Jordan, the radiant Nyong'o and especially Wright, who gives her every scene extra punch and humor.

With so many ingredients to stir into this overflowing pot, you have to hand it to the two experienced teams of Marvel collaborators who had a feel for how to pull this magnum opus off.

A very funny Kiwi take on vampire lore and its application to the modern world.

Flamenco is a treat for the senses that will delight dance fans.

A quiet stunner of a drama.