Christopher Schobert

One of the film’s successes is its ability to subvert expectations.

Bring Them Down is not a great film. It’s occasionally compelling thanks to its haunting, almost otherworldly locations in Ireland. Mainly, though, what stands out are performances of the ever-intense Christopher Abbott, Nora-Jane Noone, and, most notably, Barry Keoghan.

Perhaps months or even years from now, it will be easier to disassociate the film from the real-world details that influenced its creation and give it a second look. In the present, though, In the Earth feels like a project designed to stave up boredom. Perhaps it did, for Wheatley and his crew. For everyone else, the memories of watching will be quickly buried.

In many ways Lee is a perfect festival crowd-pleaser––handsomely made, well-acted, based on a true story, filled with recognizable stars. While it is not a great film, it is undoubtedly a good one, and that’s enough to warrant a recommendation.

The Good House ultimately gets more right than it does wrong, but just barely.

For Rooney Mara, it’s a new high, giving a performance that can only be described as extraordinary, and she makes Una a sharp, discomforting stunner.

Kidman gives one of her best performances, and Kusama keeps us interested even when we know what’s coming.

A sturdy, small-scale thriller that makes little lasting impact but certainly succeeds in providing some clever jolts.

The Peasants is a histrionic and often-ludicrous bummer, one that wastes the deeply committed performance of star-in-the-making Kamila Urzedowska. The Welchmans deserve credit for developing a unique style. Now it is time to write words that match these images.

This is a standard unsolved mystery drama, the type that would be quite at home on a small-screen police procedural. The setting certainly adds to its interest, but even when the boy’s fate is (seemingly) explained, it is difficult to care.

Cleverly constructed and bursting with well-planned action sequences–the carnival brawl near the film’s end is positively delightful–Birds of Prey is the rare comic book adaptation directed with a real, tangible vision. And as Quinn, it’s hard to imagine anyone else than Robbie bringing her mix of middle-finger savagery, surprising vulnerability, and utter likability to the role.

It is by no means a misfire and features a trio of tremendous performances from Pill, Gadon, and Mare Winningham. But given the source material and the ingredients, Sorrows certainly qualifies as a disappointment.

Spin Me Round never reaches classic status, but works as an enjoyable, sometimes uproarious subversion of rom-com tropes. Pull up a chair, and mangia.

Roman J. Israel, Esq. might not be the courtroom drama fans have been expecting. Instead, it’s a character study filled with insight and originality.

Eden wants to leave the audience brimming with respect for the survival skills of Floreana’s inhabitants. Unfortunately, the endless scenes of discord are what will be remembered. This is a script problem that’s never solved. Howard’s ambition is to be applauded, but that alone is not enough to make for successful cinema.

The stakes are low, drama minimal, structure formless. It makes for a viewing experience that is occasionally enjoyable and largely unengaging.

The Wedding Guest is as technically accomplished as any film Winterbottom has ever made. But it all amounts to very, very little.

The Quiet Man is as mysterious as its subject. It is, of course, an absolute must-watch for the Stones faithful. There is no great insight regarding the other members of the band, though.

Driven is a well-told, strongly-acted drama with real heart.

Jeremiah is bouncy and pleasing, if overfamiliar and never as insightful as one would hope.

Through the performances from Glaser and Brosnan, as well as its unabashed willingness to look extremely silly, False Positive may be worth one’s time. This is Friday-night thriller cinema from the Single White Female or Hand That Rocks the Cradle book, and sometimes that’s just what one is seeking. For anything more than that, look elsewhere. Like, to Rosemary’s Baby. Again.

Seberg never quite makes the case for its own existence, nor does it demonstrate to the audience why its protagonist’s political beliefs were so revolutionary.

With a little more Keaton charm, a sharper script, and a bit more filmmaking verve, Knox may have succeeded.

It’s a so-so affair offering momentary pleasures.

It falls flat. There are a variety of reasons — one-note characters, an overly-familiar story arc, a laughable sequence of bee heroism (!). (Alternate title idea: “Secrets and Hives.”) Still, there is the work of Grainger and Paquin.... They make Tell It to the Bees watchable, and are worthy of high praise.

Had [Ponsoldt] truly trusted his young performers and crafted the script accordingly, Summering could have been something special. Instead he’s made a film as unfocused and forgettable as a rainy late-summer afternoon. These characters deserve better.

If we spent a little less time on Mary and Percy, and a bit more watching Mary actually create, the result may have been different. Sadly, Mary Shelley is just not alive.

The film itself is not a success, but the performance by Mara is complex and profound. If for no other reason, see it for her.