Aptly named and drolly executed, leading to a transcendently funny, endearing and unexpected finale, The Treasure confirms Corneliu Porumboiu as the joker in the Romanian New Wave pack.

A film that assembles many of the author’s most memorable creations with noisy, tossed-off sloppiness.

Junun is Paul Thomas Anderson at his most laid back. Not bothering with instructive context, the picture finds him absorbing the energy of the musicians through their instruments and personas. A scrappy film that never feels precious about itself or its subject matter.

Too many times, Trash asks the audience to trust its characters and their words unconditionally by throwing around terms like "change," "hope," and "rights" with no basis whatsoever.

Save for a few inspired moments (usually at the expense of the city of Fresno), Jamie Babbit’s screwball comedy is cringe-inducing and unfunny. Everyone in front of the camera here deserves better, particular Judy Greer in a rare starring role.

This is a documentary that reminds you of the resiliency of the human spirit. The resourcefulness that can take place when you have nowhere else to run.

Under The Influence is ultimately much more of a listening pleasure than a viewing one. Neville's by-the-book direction makes sure of that. That said, Richards is an undeniably magnetic force of nature that keeps the attention span reined in for the swift 80-minute runtime.

Bridge Of Spies is one-third courtroom drama and two-thirds Cold War thriller, and while an engaging watch thanks to fine actors and terrific filmmaking, it’s not without its issues.

Hitchcock is essential; Truffaut is essential; the book is essential; Kent Jones' Hitchcock/Truffaut is not quite so, but it's a very enjoyable appendix.

Guzmán's essential thesis seems to be that, in turning its back on the ocean, modern Chile lost a crucial part of its identity. But he also puts forward the extraordinary idea that the water has a memory, and that if you listen closely enough, you can hear the voices of the disappeared.

Constantine captures the invigorating joy of these songs, and humorously shows that it is nearly impossible to listen and not feel the urge to dance.

Buoyed by a script brimming with authentic back-and-forth ribbing and confessional exchanges, newcomers Baquet and Dargent exhibit an alternately ribald and frank rapport that, like the film itself, taps into the volatile anxiety of finding one’s self.

Wildlike is not a traditional Hollywood feel-good buddy road movie, but a semi-slow burn experience that takes its subject matter and characters seriously while unrolling the central relationship of the story in a refreshingly deliberate pace.

The Walk is broadly written with two clunky first acts that are saved, arguably superseded entirely, by its nerve-wracking, majestic and spectacular finish.

The use of the actress’ own archival material in 'In Her Own Words' results in a tribute to both her titanic career, and to her belief in the movies’ capacity to safeguard the past, and to maintain it long after its makers are gone.

The exuberant life and liveliness that spills off the screen and the effortless sororal chemistry between these young actresses are compelling reasons to seek out Mustang.

Hirsh Bordo’s first film isn’t ambitious in its style or structure, but it is entirely effective at communicating its encouraging message to the audience.

In Western, the filmmaking philosophy remains the same, but the subject is new and different, and the storytelling is deeper, nuanced, and honed by experience.

Anxious and tightly-wound like “Citizenfour,” with similarly shocking and disturbing content, (T)error is a gripping parallel investigation of illegitimate counter-terrorist stratagems that not only considers the moral consequences of informing, and the wider troubling landscape around it, but does so from a deeply intimate and remarkable perspective.

Pan is a cacophonous assault on the senses, all computerized cinematographic mayhem and deafening noise, and its hurried pace extinguishes any genuine character development.

The highest compliment that can be made of the movie is that it is harmless: never laughably bad, never painful, just pure mediocrity, from start to finish.

In its portrait of a strong, independent woman learning to embrace her own ambition, desires, and future via the aid of an older male mentor-cum-father-figure, it colors its triumphant fantasy of female empowerment in a distinctly conservative, paternalistic shade.

The respect that the film mostly has for Aria’s personhood, even at such a young age, gives it a keener edge than many other entries in the rather overpopulated coming-of-age genre.

Unexpected and charming, “Manson Family Vacation” is one ride you’ll want to catch.

Atmosphere and feelings can only do so much when story, and its credible beats, seem to have fallen by the wayside.

Relentlessly paced, with the volatile ferocity of a rabid pitbull, Schneider vs. Bax is, above all else, pretty damn funny. That's if you're into Alex van Warmerdam's distinctive brand of humor.

Every single one of Emmerich’s moves can be seen coming from several miles away, and yet, not because they adhere to any semblance of historical fact. Somehow, Emmerich makes a severely underserved narrative feel groaningly familiar.

The pathos of this situation is clear, the stakes, which obviously involve genocide, justice and actual Nazis, are sky high and Plummer is completely extraordinary. So why on earth isn't Remember a better film?