If John Cassavetes had directed a jazz musical by Jacques Demy, it might have looked something like this.

Boyega is absolutely riveting, leading with a stern glower, and constantly trying to prove himself. Yet Moses has a deep well of tenderness and honor beneath the façade, and Boyega almost single-handedly makes you care not just about his character, but about everyone in any gang that would align itself with him. He's that magnetic.

A horror-movie attic sale is, in essence, exactly what Cabin in the Woods is, an attempt to exorcise the genre of its formulaic possession by stuffing the movie full of its most overused and predictable elements - and then dumping them through clever skewering.

In a story built on ugly secrets and lifetimes of terrible events, small moments of beauty and redemption sneak through - proving that sometimes utilizing those bitter remnants of charred memories can prove more fruitful than Earl Gray thought.

Resolution is really a less self-conscious cousin to last year's "Cabin in the Woods"; both are hugely satisfying exercises in examining the way in which stories are told. Cabin succeeded by deconstructing horror without ever intending to be scary itself. Resolution takes the opposite path: When Benson and Moorhead voyeuristically suggest that someone or something is watching Mike and Chris, the chilling effect is marrow-deep.

Anderson has the ability to control our emotions just as expertly as his camera.

The truth may not be quite that simple, but Kapadia's slightly ecstatic version of it makes for gripping viewing.

The director wants him to engage his "audience," but Rebney -- as misanthropic as one would expect of a man who lives alone in a remote rural cabin -- only wants to talk about politics.

Soderbergh imposes a shape until the film begins to feel less like puzzle pieces in search of their place and more like one seamless picture: It's almost as if, with this collage of the artist's past work, he's created an entirely new final monologue for Gray.

Promoting understanding and appreciation of the beauty of the bees and our intertwined relationship with them is also presented as a vital part of the equation.

This is a film built around its star, just as surely as any of its cheesier '80s forebears.

This Lincoln isn't an abstracted, infallible ideal, but rather a deeply conflicted, often lonely leader simply trying to do the right thing - even if that means few wrong things along on the way.

A hilarious meta-comedy in which Karpovsky, playing a version of himself, goes on a roadshow tour for a movie he's directed.

In one of the film's most fascinating moments, Klosterman asks Murphy what his biggest failure was. After uncomfortably dodging the question at first, Murphy admits that the only thing he thinks he might regret is quitting.

The film plays by genre rules - explicit gore included - even as it turns them on their severed head.

Stylistically unremarkable, playing it safe with structure, the film is still quietly revelatory.

Like zombie auteur George Romero at his best, Grau locks his sights on his social commentary of choice and goes after it with the zeal of a 19-year-old cannibal girl sinking an ax into the skull of her next meal. The result is messy, but it makes more than a meal.

What sets Dupieux's film apart is its unexpected secondary dimension: an absurdist meta-commentary on cinema itself that hilariously articulates the notion that the movies stop existing the moment we stop watching, like the sound of an unobserved tree falling in the forest.

This film exists purely to dazzle and thrill, and by that measure, it delivers expertly, never lagging despite a lengthy 133-minute running time.

Wain's brand of humor thrives on stepping over the line - and then sprinting a few hundred yards past it.

Both Jeff and the film have a way of sneaking up on you.

Barely a moment goes by without a well-orchestrated joke (or three), and it's paced as briskly as a clipper in front of a stiff tailwind.

A film in which everyone is lusting after the wrong person, and consummating those desires tends to lead to awkward - but not funny, unlike Dunham's usual projects - disasters of various scales.

Unmade in China is nominally about filmmaking, but what Kofman and Barklow do well is to use their unusual position within the Chinese state machine to make a thinly veiled movie about politics.

There's no denying its status as a rousing and thoroughly enjoyable Old Hollywood-style adventure.

The narrative trots all over the globe, including stops for labor exploitation in the Marianas Islands, dealings with Russian mobsters, ripping off Indian tribes in the desert southwest, and jetting to Scotland for rounds of golf with impressionable politicians.

Machete works because at no time does it ever ask the audience to take any of this too seriously, yet the nudges and winks are never so forceful that it feels like it's begging for your laughter.

He's hardly a cuddly figure, but neither does he come across as an intimidating presence. After all, it's hard to think of anyone in cantankerous terms after they've just lovingly described the history of the beloved old hand-knitted stuffed animal that is their oldest possession.