Anthony Kaufman

The film’s second act is near spot-on comedy of discomfort.

Proficiently directed by Sara Colangelo (The Kindergarten Teacher), well-acted by Keaton and co-star Amy Ryan as Feinberg’s deputy Camille Biros, and made with the respect and reverence that its subject deserves, Worth nevertheless remains a bit too stolid and too on-the-nose.

It’s intelligent and clever scripting, and except for a few moments where the dialogue is overly expository, as if Burns doesn’t trust his audience, The Report pulls back the curtain on America’s political machinations and one of its most appalling policy decisions and attempted cover-ups with startling clarity.

The Polka King, and Jan’s plight, never quite reaches the level of palpable human drama of their previous effort. Black does his best to make Jan a vulnerable and sympathetic character, but neither the script nor the direction allows him to become fully dimensional.

Goat is a potent reminder that even traditional gender roles can be rife with angst, anxiety and devastating social pressures.

I Am Mother mostly satisfies as another example of smart and slick indie sci-fi.

It’s a classic underdog story, effective for its engaging chronicle of outsiders trying to change the system.

Sure, the motorcycle wheelies are cool, but there’s nothing more intense than the raw emotion that comes from a mother trying to protect her child.

It’s ultimately a forgettable lark, amounting to little more than a spiteful attack on the vapidity of the commercial art-world. There’s nothing lampooned here that we haven’t already seen before, whether it be a pretentious art critic or avaricious art dealers.

Though it’s all a bit ridiculous—and Simien, in certain instances, acknowledges the humour in his horror—the film is anchored by Elle Lorraine’s breakout performance.

The film also has plenty of faults. One of the main problems is that Ophelia is still under-written.

Little Monsters doesn’t exactly reanimate the popular subgenre in novel ways, but there’s enough humorous gags, suspenseful scares, fleshy gore, and quite surprisingly, a dash of heartfelt sentiment, to make for an amusing thrill-ride.

Lizzie is, at best, a powerful showcase for the two actors. At its worst, it’s a tiresome and unappealing exercise in the inevitability of a family’s mutually assured destruction.

Refreshingly, there is no clichéd love story or illicit thriller that emerges; Marston is pursuing ideas that are far more personal and philosophical, about the masquerade of identity and what it means to that identity when you make a significant change in your life.

Deutch, who appeared in Beautiful Creatures as well as Richard Linklater’s Everybody Wants Some, delivers a sympathetic lead performance, carrying the film with equal doses of sweetness and grace, strength and vulnerability.

As a satire about L.A. living, the movie delivers its fair share of zingers. With a script that recalls Whit Stillman and TV sitcoms, Morgan’s crisp dialogue sometimes hits its target.

While his film may dabble in varying points of view, it never manages to delve into the subjectivities of the characters it is trying to capture – even the ones it clearly cares for.

Deliberately off-putting, Hosking’s latest tests the audience’s patience with frustratingly unfunny scenarios and an array of nasty, angry characters doing unpleasant things.

Estes handily pumps up the tension, and keeps the story moving along at a brisk pace. There may be nothing particularly memorable about the filmmaking on display, but Relive is focused mostly on its actors.

Feels like a Saturday Night Live skit that’s been stretched out over 90 minutes.