A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making. Can the truth ever actually be known about anything?

Director Wheatley has already shown his aptitude for sardonic horror-commentaries, and Sightseers is his best film to date. Sightseers is dark, gruesome, blithely amoral and thoroughly entertaining.

Gimme the Loot is thrilling, although there aren't any stereotypically "thrilling" sequences. The thrill comes from the compulsively watchable dynamic between the two leads (non-professional actors, both of them), the excellent supporting cast (also non-professionals), and the fun use of multiple locations throughout the bustling metropolis.

True to the spirit of the original film, "Monsters Inc.", and matches its tone. But it never seems content to turn over old ground.

Would the magic hold? The magic holds. It holds from beginning to end.

Don't see this movie if you have a weak stomach, or if you don't like movies that mix horror-movie violence and cornball humor. Don't see if it you're expecting production values beyond a couple of vehicles, a farmhouse and about twelve buckets of gore. Don't see this movie if your definition of a great or classic film is one that bowls you over with the importance of its subject or the awesome scope of its vision. Do see if it you want to be be reminded that it's possible to make a relaxed, engrossing, funny, sometimes scary movie on almost no money.

In many ways, Fruitvale Station is as green and earnest as "Boyz N the Hood," a debut film made by another alumnus of Coogler's alma mater, USC: John Singleton. Yet its ambition is closer to that of the most important American indie film in at least a decade, Patrick Wang's "In the Family," a must-see that's now available on DVD.

If I were nine years old, I would see the monsters-versus-robots adventure Pacific Rim 50 times. Because I'm in my forties and have two kids and two jobs, I'll have to be content with seeing it a couple more times in theaters and re-watching it on video.

This masterpiece about propaganda, cinema and vanity as instruments of power and terror ends on an excruciatingly sustained, righteous money shot: a monster who could have been a good man suffocates on the truth.

What an affecting film this is. It respects its characters and doesn't use them for its own shabby purposes. How deeply we care about them.

Brian De Palma is one of the great seducers of the cinema, and he proves it with Passion, a spellbinding thriller.

For all its stunning exteriors, it's really concerned with emotional interiors, and it goes about exploring them with simplicity and directness.

After Earth is ultimately too thin of a story to support all of its grandiose embellishments, but so what? It's better to try to pack every moment with beauty and feeling than to shrug and smirk. The film takes the characters and their feelings seriously, and lets its actors give strong, simple performances.

This is the End finds a balanced tone most horror comedies fail to deliver. Grossout humor melds easily with grossout horror, sometimes at the same moment.

For all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It's as obsessive and overbearing as Steven Spielberg's "1941" — and, I'll bet, as likely to be re-evaluated twenty years from now, and described as "misunderstood."

The film's flintiness and initially subdued nastiness set it apart from most other action films about the thin line separating cops from crooks.

The best kind of anti-war propaganda film, calm in feeling and mood, yet truly terrifying in showing the scourge of our age: terrorism, which can strike anybody, anywhere, at any time. It's also a love story, and a film about having it all. And then in an instant, losing everything.

This is a very good movie and perfect summer counterprogramming.

At times, Blood, feels like a slightly-filled-out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.

Ain't Them Bodies Saints is a film that will reward you for seeking it out.

Cretton shows as much care and kindness with the minutiae of the daily routine — as he does with the larger issues that plague these lives in flux. He also infuses his story with unexpected humor as the kids hassle each other — and their supervisors — on the road to healing.

Wright is a brilliant director of turbocharged exposition, elegant but bruising action sequences, and graphically bold comedic overkill.

Despite the bleak-ness of the situation, the film vibrates with color, noise, music, ferocious arguments (both serious and teasing), and eye-catching snapshots of everyday life in Havana.

An earnest and important film. It deserves to be seen by anyone who is interested in documentaries and anyone who is interested in the simple human stories movies too often overlook.

The footage of Bordeaux is awe-inspiring, with aerial shots of the great chateaux and the vineyards. Closeups of the labels from the different chateaux abound, along with luscious shots of glimmering wine being poured. The obsessive nature of the entire industry is reflected in these shots, a good marriage of theme and form.

Harry Dean Stanton: Party Fiction takes a dreamy and philosophical approach, reflecting the personality of the man who is its subject.

Wisely, Kornbluth strives to put a human face on the situation, focusing on several families who represent hard-working citizens who are barely making ends meet with their shrinking paychecks—let alone building up any savings.

I love this kind of backstage documentary, which is not surprising for someone who has "All That Jazz" and "All About Eve" on his all-time top ten list.