Any film flooded with this level of emotion is worthy of our respect — and our tears.
Chadwick Boseman is simply magnetic as T’Challa, the African king fighting evil in the guise of a wildcat.
Writer-director Sally Potter returns with a brief and darkly amusing specimen of the dinner-party-from-hell subgenre.
Russian director Andrey Zvyagintsev’s drama is about a state of mind, a lament, an indictment of crimes against the human spirit.
Ungainly as it is, though, it delivers a hell of a kick.
I like it — in spite of its dumbbell infelicities.
The problem with retrofits is that they can’t spiral off in entertaining new directions. They have to come crashing back to Franchise-Land.
Dakota Fanning plays a young woman on the spectrum who travels to L.A. to deliver her Star Trek script.
Just as smart is Brad Anderson’s direction, which is clean and crisp but never on the nose.
The best performances, the creepiest noises, and the tiniest horses out of this year’s Sundance Film Festival.
Peter Dinklage deserves all the good will we can muster, but if he’s going to make movies like this, Game of Thrones can’t come soon enough.
It’s not particularly illuminating, but it’s far from futile.
Zoe Kazan co-wrote the adaptation of Richard Ford’s novel with Paul Dano, and it’s brilliant.
The Happy Prince proves that a film can be both bleak and warm-spirited, as befits its mighty subject.
Pattinson gives himself a gray metal front tooth and pitches his voice into the high twerpy zone; Wasikowska can do no wrong.
But perhaps, given the runaway strength of Naomi Watts’s supporting performance, it should have been titled Gertrude.
Michael Shannon and Hilary Swank are superb in Elizabeth Chomko’s debut feature film as stressed-out siblings watching their mother’s memory dissolve.
Craig William Macneill’s biopic on 19th-century ax murderer Lizzie Borden fails to find the juiciest parts of a famously fascinating story.
Her first narrative feature since launching Jennifer Lawrence in Winter’s Bone tells the story of a father and daughter living in the wilderness.
Jesse Peretz’s adaptation of Nick Hornby’s novel explores what happens when a superfan’s idol and girlfriend strike up a relationship of their own.
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