Just in time for the holiday travel season, Flight brings audiences perhaps the most harrowing scenes of a troubled airplane ever committed to film.

Tucker came up with a classic, but poor Coppola has turned a great American tragedy into a gas-guzzling human comedy

99 Homes isn’t just a straightforward drama. It’s a suspense movie.

Super/Man is a weeper, to be sure, for the reminder it brings to fans that this Man of Steel was only flesh and blood.

Briskly paced, bristling with Sorkin’s distinctive verbal fusillades, seamlessly blending conventional courtroom procedural with protest reenactments and documentary footage (including Wexler’s), The Trial of the Chicago 7 offers an absorbing primer in a chapter of American history that was both bizarre and ruefully meaningful.

A sneaky tale of savagery in the dehumanizing digital age, writer-director Kiyoshi Kurosawa’s “Cloud” is as bleak a warning as you’ll find in theaters this year, cautioning against the corrosive combination of late capitalism, the internet and human nature.

Propelled by a funny, charismatic turn by Hewson (who infused such unpredictable energy in the terrific Apple TV Plus series “Bad Sisters”), Flora and Son is a feel-good movie that largely earns its sentimental uplift, one sick burn and soaring musical number at a time.

It's an updated Capra fantasy that goes for the sweet rather than the tart.

Vibrant and engaging documentary.

May just be the best in its genre… Entertainment and radical street preaching, all rolled into one. If it tells black kids not to try this at home, it also revels cinematically in blam-blam-you're-dead. This is what makes the movie maddening -- and what gives it strength.

A provocative and uncomfortable comedy.

Certainly no feel-good flick of the summer. But it's always tough and honest.

Engagement simply disappears inside its own enormous, intricate and ambitious design.

Cartel Land reveals a culture that spans the border, full of death and dismaying behavior on both sides, but thriving all the same.

Ultimately, though, the movie never transcends the limitations of its Hemingwayesque, men-with-men attitudes.

Explodes in a burst of energy, musical chops and an eerie political prescience that makes it feel like something beamed from some past-is-future time warp.

It’s a simple, gentle tale that’s told beautifully but feels hollow — like a eulogy for an acquaintance.

In the end, An Honest Liar becomes a far more layered tale than it starts out to be.

Overlong and repetitious, the film doesn't live up to the high expectations set by its charming opening scene, but the musical numbers, which often feature the original wigs and trashy Ikettes gear, are handily directed by Brian Gibson of the HBO movie The Josephine Baker Story. The mitigating factor is that Bassett overcomes the limitations of the role to become more than a punching bag.

As a history lesson every bit as clarifying as it is cockeyed, Hail Satan? possesses unarguable value. But it also serves as a reminder of why we embrace nonconformity, pluralism and tolerance.

Fans of the director may be a little mystified by what at first seems like something of a commercial sellout, by a director known for more challenging material. And indeed, The Whistlers has more than enough sex and violence to satisfy the average action movie fan. But dig a bit deeper, and you’ll find a mother lode of meaning just below the surface.

In addition to “pervert” — which Wojtowicz makes sound like a badge of honor — the film offers many other seemingly contradictory assessments of Wojtowicz, mainly from his own mouth: troll, Goldwater Republican, McCarthy peacenik, crazy man, crook, romantic. He was all of those things and more, as The Dog makes vividly obvious.

Despite its unconventional source material, it turns out to be surprisingly well-crafted, elevated by breathtaking central performances and the stylish, slyly knowing sensibility of director Janicza Bravo.

There’s nothing revolutionary about the premise of naive idiots attempting to get closer to death. (See: “Flatliners”). But it’s the ingenious combination of horror and human connection that makes Talk to Me, well, something to talk about.

Nichols establishes such a grounded sense of atmosphere and such superb control of mood and pacing, that the odd hiccup barely matters.

As if love triangles aren't complicated enough, the bittersweet Peruvian film Undertow offers a couple of twists on the archetype.

The story is so nasty, so depraved and troubling, that viewers may well wonder at its value beyond prurient interest.

There's such a sense of overall intensity, you know you have been though something powerful.