A procedural is never just about the case, even as the inquiry barrels along. To his credit, Moll ably recognizes as much, making his procedural a fine example of the form.

A labor of love and a product of considerable craft, Richard Linklater’s Nouvelle Vague — which chronicles the making of Jean-Luc Godard’s Breathless — is more than just a valentine to the French New Wave; the film is also a stealth showcase for a filmmaker rarely heralded (or for that matter, tribuned) for his technical sophistication.

As Alpha’s family becomes increasingly isolated, the film’s ambition widens. Though the rhythms of this can take some getting used to, the resulting emotional payoff is more than worth your patience.

Sirât is bold in its depiction of a decaying world in which some people can still find release. But its insistent brutality feels less bold than exhausting, and the question asked by one of the characters – “Is this what the end of the world feels like?” – has an easy answer: Hell, yeah.

This is a full character that Dillane and Dickinson have built from the ground up, where the little details of how he reacts to things can tear right through when you least expect it.

Its messiness is part of its charm and part of the point; a film that took itself more seriously than this one wouldn’t let a climactic gun battle turn into an almost cartoonish grand guignol splatter-fest.

Del Toro hasn’t had a role this juicy in ages, and he’s captivating at all times.

Even as it’s not Ramsay’s best film, even a minor work from the filmmaker is still better than just about any other director. There remains a haunting power that she’s able to wield over her audience.

Actors turning to directing is nothing new, but it’s unlikely you’ve seen a performer’s directorial debut as boldly confident and emotionally precise as Kristen Stewart’s The Chronology of Water.

Aster has always had a knack for confrontation, while Phoenix works best as an open-nerve. That the duo should prove so adept tapping into a vein of neurotic action is one of the many brutal surprises in a social satire as blunt and broad as America itself.

We’re here for the kills and, again, every single kill in 'Final Destination Bloodlines' is a winner. Every time a head explodes, which is a lot, you’ll want to stand up and cheer.

Bring Her Back, like many great horror movies, hardly needs to dip into the supernatural to shred our nerve-endings.

Basir’s script is ambitious and thoughtful, though flawed. The regrettable characterizations of women aside, some of the dots don’t quite connect.

If this is the end of the 'Mission: Impossible' movies, they ended on an adequate note.

Crackles with manic energy, fed at every turn by exhilarating fight choreography and a thoroughly game cast. Hartnett carries the whole silly, bone-crunching enterprise masterfully.

The only annoying thing about Summer of 69 is that this is the exact kind of laugh out loud, emotionally satisfying, share-it-with-a-friend comedy that would probably find a sizable audience in theaters — and instead it’s a Hulu exclusive.

It’s a film with potent ideas, inner conflict, historical imagination, dramatic challenge, queer power, human fragility, humor, sex, pathos. It’s hard to pin down exactly what makes it great, and that’s what makes it great. There’s so much to its muchness that the veneer can hardly contain it, not unlike Taffeta themself.

Never was a film I’m more likely to forget, than this of Romeo and his Juliet.

It’s that rare action movie that succeeds because it’s challenging and intriguing, which is a nice way of saying that maybe it could have kicked slightly more ass.

Never could the story be described as a series of sketches haphazardly stitched together as many comedies can fall into being. It looks and feels like a drama that is coming apart at the seams as Robinson careens his way through it.

It’s the exact type of film that you could see a new generation of kids finding and causing them to fall in love with movies.

Minahan has made a film about embracing life when you’re not legally allowed to, and he refuses to make watching it a misery, no matter how rough it gets.

Although it’s hard to shake the sense that on a practical level this studio is just scraping the bottom of the barrel, desperately hoping their minor characters can be converted into headliners, they’ve done a damn good job of it.

The movie never feels like an attempt to recapture past glory as much as fit Evans’ style onto a well-trod narrative. It’s a B-actioner elevated thanks to a singular director, and while I know “Gangs of London” has plenty of fans, I hope we won’t have to wait another seven years for Evans’ next action film.

If you can’t think of a better way to spend your time, 'Until Dawn' is a thing that exists.

It would be easy to write off 'Sneaks' as a hack job, a sole-less riff on a tired premise, but there’s more afoot here.

It’s just that while you can’t see any of the strings being used on the effects, you can see the story being manipulated. You may fall in love with Ochi all the same, but you can only wish you’d gone on a richer journey together.

Cooley’s movie feels like what the Transformers films always should have been — adventure films the whole family can enjoy regardless of any pre-existing affection for the world of Transformers.