The 90-minute documentary doesn't pretend to be anything more than it is: a love letter to a great comic, providing a digestible version of its history with an eye to its legacy.

Together, all four cast members help draw a line across the narrative—separating when we were watching a mildly engaging depiction of names, dates, and locations, and a hellish, immersive situation with no easy outcome in sight.

The Square gives us the context of Egyptian uprisings, full of heart and hope, but the crux of the Revolution remains muddy.

It might be overlong, overstuffed, and occasionally operatic, but that doesn't mean that it can wring the tears out of you.

It may not strike the political notes it wants to hit completely, and may fall just short of the impact it would like to achieve, but Medora provides a sweet, small tale of survival, not just of a high school basketball team, but of a town trying not to get eaten up by supposed progress.

Catching Fire is a monumental achievement, a massively entertaining crowd-pleaser that is thought-provoking and personally inspiring in all of the ways that it aspires to be.

The Starving Games is the sixth directorial effort from Jason Friedberg and Aaron Seltzer, and they are nothing if not consistent.

The film is luckily powered by a powerful trio of performances at its core, and a unique, unpredictable structure that constantly reframes the action in a compelling way.

As far as animated movies go, it doesn't get that much better than Frozen. It's a new Disney classic.

While it doesn't reinvent the wheel, or revolutionize the genre, it achieves its modest ambitions affectingly well, in no small part due to a clutch of cherishable performances, especially from leads Emile Hirsch and Stephen Dorff.

The Book Thief covers a large span of time, but the film's episodic nature, often moving from one incident to the next with little time to pause or reflect, often obscures that fact and hinders an evocation of the cumulative effect the war has on the psyche of not just the Hubermanns, but their neighbors, too.

There are shades of “Lars & the Real Girl” here, but where that film skewed towards dark comedy (which helped temper its outlandish premise), "Emanuel" is almost completely humorless.

LaBute has consistently made intriguing, often idiosyncratic films in his career, but he hasn't made anything this unsettling and unforgettable in a very long time.

The movie is zippy and funny...and more emotional than the man himself would ever allow himself to be. It’s a triumph.

Big Sur rises and fades, shifts and moves, through movements and melodies, singing a beautifully sad song for an era and a man who lost his way.

That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.

Takes the standard gangster movie template and blasts it out of the water.

A visionary, thrilling work.

A thoroughly dull, conventional tale of two people who can't find a compromise on their individual priorities to be together.

Our Day Will Come is the kind of polarizing, in-your-face movie that we too rarely see in cinema these days.

The characters are so two-dimensional that a meaningful connection with the material isn't elusive; it's downright impossible.

As a mainstream sci-fi film, this enjoyable, occasionally poignant effort too often feels messy in the wrong ways.

There’s a restless inventiveness to many of the gags that are matched only by the outrageousness of their surroundings.

Yes, it's uneven, more jokes miss than hit, and it winds up taking easy dramatic shortcuts from the more interesting avenues that the script presents, but it's thanks to the lead quartet that the comedy is as engaging at it is.

Yet despite recent solid entries like "Margin Call" and "Too Big Too Fail," we're yet to see the first great contemporary movie about the country, and world's, economic woes, and unfortunately Costa-Gavras' Le Capital doesn't remedy that situation.

It’s as if “The Man Of Steel” was ninety minutes of supervillians shit-talking Superman, then casually sticking kryptonite in his face without even pretending it’s a surprise.

Spinning Plates navigates an industry that is more diverse and challenging than ever, but with this simple, fulfilling sampling, we learn that those behind the stove aim for the same kinds of rewards, accomplishments and satisfaction as their predecessors did.

A wonderful document of inner-city oppression and two young actors' beginning steps, The Inevitable Defeat of Mister and Pete struggles to establish a cohesive center, and ultimately fumbles any tension on the path toward its title's possible fate.