Gregory Ellwood

Edgerton, who also wrote the screenplay, shows a masterful touch in playing with conventional expectations.

Hands down one of the best films of the year, Sebastian Schipper has directed a one-shot film that is truly a captivating cinematic experience.

This movie is Ferreira’s moment, and she rules.

Dense isn’t always used as a compliment when describing a movie, but in the case of Women Talking it’s a badge of honor. Polley is tackling numerous social dynamics among the women as well as a number of contemporary themes including women’s roles in society, religious freedom, sexual liberation, and even gender identity.

Something is missing from making it a knockout.

Dipping his toe into the not-so different motifs of Hollywood Westerns and telenovelas with a wink or two to some queer cinema classics, Céspedes has bold artistic aspirations.

This contemporary Japanese drama centers on the relationships between two vaguely thirtysomething women and two middle school-age boys. Two pairings that find a common connection in the most unexpected of circumstances. It’s the context of their attractions and the contradictions Fukada delicately presents that eventually beguile the viewer, even if his restrained aesthetic may test your patience getting there.

While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering Better Man.

The fact Tomlin is so good also highlights the film's biggest problem. Too much of what works in Grandma comes from the subtle touches Tomlin, Elliott and Harden bring to their characters, not Weitz’s script.

Margolin’s directorial debut is often super entertaining with just enough style and patience to avoid the trappings of a broad, studio endeavor. It also has a ton to say about senior autonomy, aging, ageism (two very different things), and the bonds between family members, young and old.

Despite Deakins and Mendes’ shorthand in framing gorgeous images, there are moments, especially in the second act, where the film could simply use a bit more energy. Luckily, for Mendes, Colman provides it soon after and when the movie needs it most.

Ewing makes a creative decision in the final act of the picture which simply sucks all the air out of the room.

Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.

Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

A taught 91 minutes, September 5 is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work.

The filmmakers are beyond lucky to have the performances from Smith and Ellis, as well as Venus’ own incredible story, to keep you captivated when it matters most.

Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

Unless you have truly transcendent performances or unforgettable cinematic moments, it’s difficult for this genre of sports story to really throw a unique punch.

Cedar’s smart dialogue and direction lift Norman: The Moderate Rise and Tragic Fall of a New York Fixer (hereby just referred to as ‘Norman’) above expectations.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

There are definitely some logical gaps in Ford’s screenplay and perhaps the consequences could be slightly more dangerous (intriguingly, guns barely appear throughout the proceedings), but as a filmmaker, he displays a keen awareness of racking up the tension when necessary and not overdoing it when it’s not.

Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.

As Love Me unfolds, it becomes an exercise to explore how very human emotions affect evolving artificial intelligence beings. Although referring to it as an exercise sounds unfairly cold. The movie is certainly not that. Both Stewart and Yeun bring passion to their characters. . . But something feels off.

[Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

What Blair is trying to do is quite ambitious for his first feature. He alternates moments of high comedy with serious tension and a touch of magic realism for kicks. For the most part, the tone works.