Abbey Bender

Natalia Leite, here making her feature directorial debut, does have a knack for capturing a sense of place. Both the Nevada landscapes and a supermarket where Sarah works early on have a pleasing clarity and recognizable feeling of malaise. The environment says more than the characters ever do.

A grating protagonist alone does not a bad film make, but the episodic, unsatisfying Lemon revels in purposeful nails-on-a-chalkboard unlikability.

All in Time is best when it's not forcing its slight narrative toward fantasy.

Chloe and Theo is a film that operates entirely on a vague sense of uplift.

Linder possesses a compelling, Kurt Cobain-like androgyny, but neither she nor Krill can do much to save the portentous screenplay.

Nothing ever feels like it's at stake — the drama here is whisper-thin.

Its emotions prove curiously inconsistent, hinting at darkness but never committing fully.

Director Nick Sandow relies on a drab color palette that suits the generally humorless script.

While writer-director Jim Hosking’s commitment to weirdness (also seen in his previous outing, The Greasy Strangler) warrants appreciation, especially when so many others play it safe, his latest, comedy An Evening With Beverly Luff Linn, is a chore to get through.

Longtime camera operator Stephen S. Campanelli's directorial debut is frustratingly by-the-book, with all the trappings of a movie marketed to rowdy fifteen-year-old boys.