Gabe Toro

Young Bodies Heal Quickly is a haunting film, mostly because the title remains forever in doubt.

Director Johanna Hamilton should be credited for getting these faces in front of the camera, to humanize political rebellion of an early era not as some sepia-toned memory, but a story of very human individuals.

This is Stewart's show, and it's a dynamite role for anyone, never mind the screen's beloved Professor Xavier. The actor slips away and Tobi ultimately dominates the screen to the point where you lose track of the film proper and become Tobi's guest.

Much of the credit must go towards the makeup crew. It's a Fangoria funhouse up in here: Cabin Fever: Patient Zero has some of the most disturbing, disgusting gore effects of all-time. This is a movie made by people who have studied some of the worst injuries known to man.

The Kill Team doesn't saint Winfield at all, instead, smartly casting responsible, impartial questions as to what his options could have been.

It's basically the perfect summer movie, because it's designed to be.

It's ludicrous genre fun even if you didn't take into account the properly-bewitching Ms. Bang.

The film is borderline installation-worthy, and would probably work just as well if the scenes were drastically re-arranged.

Buzzard is a quiet, introspective film, but it trumps all generic blockbusters in that it very much is a roller coaster ride, one that thrills, upsets, and makes one queasy, all in surprising ways.

This is a unique, strange, unforgettable film, a half-remembered dream that will trouble and beguile the subconscious long after you’ve moved on.

With its rock doc trappings, it’s impossible to ignore that Mistaken For Strangers delivers on that front, with thrilling and candid on-stage footage that allows the band’s music to come alive: if you weren’t a fan before, you will be after the film.

Devos keeps her character’s unreliability and self-disappointment relatable, and falling backwards into a new lover is something that Devos captures beautifully with her uncertain facial expressions and hungry eyes.

This is easily more exciting and tense than any genre film 2014 has seen thus far.

Despite the affecting drama and performances, Run and Jump just never feels more that perfunctory in this regards.

It’s easily the most suspenseful American film of the year, a thriller that feels like lightning across a quiet night sky; sudden, terrifying, and excitingly singular.

With its broad, ambiguous title, S#x Acts reminds us, with heartbreaking power, that sometimes vigilance just isn't enough, and all it takes is an "act" or two to change a life forever.

Ultimately of course, this is Statham’s show, and as always he doesn’t disappoint.

Lenny Cooke isn't a documentary, it's an autopsy, detailing exactly why Cooke vanished off the map and why he struggled to get back into the game, a focus that goes micro where other sports docs go macro.

LaBute has consistently made intriguing, often idiosyncratic films in his career, but he hasn't made anything this unsettling and unforgettable in a very long time.

Takes the standard gangster movie template and blasts it out of the water.

Like its predecessor, Machete Kills is never less than busy with ridiculousness.

This is a frequently titillating film, and Weigert can’t help but add dimensions to that onscreen intimacy and vivid exploration of intimacy, not just seduction but also the shared sensuality of a post-coital chat.

The workmanlike precision of On the Job carries through to its action scenes, none of which are shot with any flash or style, but are edited with a propulsive pace and performed by a watchable cast enough to make them engaging.

Michell’s handling of the relationship between the two is touching in how little judgment he passes.

It's unfortunate that commercial considerations seem to play into the third act, adding a more concrete representation of a very abstract idea.

Director Shaka King has made a film of big laughs and big heart that makes one long for one long green detour without pandering to the pot-hawks who, unrelatedly, also like the lowest-common-denominator appeal of most pot films without realizing they’re being patronized.

Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.

As an affecting romance between a woman caught between two worlds, it very nearly sticks the landing. As a showcase for Ms. Bosworth, never better, it's often sublime.