I liked these characters, and suddenly not having them in my life anymore, simply because Denis has decided to start the closing credits, devastated me.

Frankly, the story isn’t remotely as interesting as Cage. Nothing is. In Ferrara’s movie, Keitel emptied himself out. But there’s a hellion’s joy in Cage’s cop.

This emperor verges on dementia, having no apparent clue how to function.

It’s imperfect, but it’s daring, bold, and from a director who isn’t scared of anything.

The movie is a perfect blend of calm execution and uninflected farce.

A chillingly effective documentary.

Antal is a professional who respects your dollars. In a season where the blockbusters are as flat as month-old soda, that’s the most romantic gesture a commercial filmmaker can make.

Grace is grace, and however it arrives, there's no denying its presence.

What's astonishing is that the movie is not a half-baked production. The spectacle now LOOKS spectacular.

Wiseman has made several films about both disability and dance, but this new one might be his most hypnotic, rhythmically assembled observation of corporeal expression.

Like "Life Is Sweet," "Secrets & Lies," and yes, 1971's "Bleak Moments," to name but three of Leigh's 10 semi-improvised character studies, Another Year is another frowning comedy.

The movie isn't a critique of zoo life. But it's possible we have on our hands, in Nénette's captivity, a microcosm of celebrity star-gazing.

"Angélica" feels most like the film that argues Oliveira is this close to the beyond without ever bothering to knock first at death's door.

You can see her (Binoche) effect on Kiarostami's filmmaking: She brings out something new in him, too.

As Apichatpong erases, once again, the barriers between the celestial and terrestrial, he also does away with the cordons between film genres - this is sci-firomancefamilyreligiousthrillercomedyporn. No video service has a section for that. The only suitable shelf is the one in your soul.

Here the Japanese senses of honor and of shame are particularly entangled. Later in the film, Lu mounts an Imperial Army parade through the Nanking ruins. It's something to see.

The movie has you from its nearly wordless opening sequence.

It's an imperfect but ambitious film willing to confront an enormous, complex period in this country.

Who knows what movie Lonergan was searching for in all that footage? But what emerges from the tinkering and legal skirmishes is an occasional marvel, a kind of everyday highbrow social X-ray, Paul Mazursky by way of Krzysztof Kieslowski.

The Mill and the Cross captures the wish that some of us have had while standing in front of a great painting. What hangs before us is so striking, beautiful, strange, vast, horrifying, ethereal, lifelike - so alive - that we're desperate to enter the other side of the canvas, to be inside the painting.

The achievement of this movie is that Kaurismäki manages the seemingly impossible task of making a farce about farces. In other words, this is a very good movie in quotation marks and a very good movie.

I've never seen a movie so perfectly balanced between unabashed nerdiness and hipness.

This is the best thing Mortensen's ever done. His slow, paunchy, hairy Freud has a cavalier authority and a capacity for drollery. He's also seductively wise in a way that makes both Fassbender and Knightley, as very good as they are, also seem uncharacteristically callow.

Dennis's film attempts something few documentaries have: to inhabit the psyche of its subject.

We have lots of terminology for what happens when two male stars appear to have the platonic hots for each other. The genre is called bromance. The feelings are bromantic. The orientation is bromosexuality. What Jonah Hill and Channing Tatum have in 21 Jump Street scrambles, transcends, and explodes all of that.

Eerily tragic and chillingly hard to come to terms with.

It's delicately made, yet forceful in its delicacy.

The movie captures a kind of tragedy of self.