Gregory Ellwood

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.

What truly elevates Plainclothes in this genre are the contributions from Tovey and Blyth.

Sorkin’s voice dominates the discourse and the film rarely has a chance to catch its collective breath. While you have to give the duo credit for attempting an unconventional structure, it’s a choice that arguably only works thanks to the contributions of a stellar ensemble.

The power of Mungiu’s work is his writing. Like much of Eastern European cinema of the past decade, he’s crafted a morality tale that should prompt a viewer to take a look at themselves in the mirror wherever they may live. And if it ends without any hint of resolution? With barely a glimmer of hope? So be 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.

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

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

There is a moment in the final act between Graham and White that will be hard to forget. A moment that is masterfully directed and performed with the utmost humanity. So much so that you almost wish the movie ended right then and there.

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.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

This may feel like familiar territory to another U.K.-set disaster film, “Children of Men,” or the recent mini-series “Station Eleven,” but Bellow has crafted something singular here. And you won’t forget it.

Considering how much screen time they share together, Lister-Jones and Pally need to have fantastic chemistry to keep the audience rooting for Anna and Ben and, luckily, they have more than enough.

We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.

What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults

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

While it’s not a complete home run – it is a wee bit too long and certainly not as funny overall as it should be – in the end, it delivers. Because, love it or hate it, this film will linger with you. You certainly won’t forget Aitchison’s stirring performance.

The end result is often so insightful and entertaining that it makes you immediately wonder what subject matter Jefferson will tackle next.

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.

The empathetic instincts of Sanders and his talented artists result in a tearjerker of an ending that may have you bawling.

Love may not be as erotic as many expect. The gratuitous sex may eventually start to bore many viewers. Some may even take off their 3D glasses because they simply aren't necessary. Yet, for all its faults, Love is a film that somehow still resonates.

An incredibly ambitious film that, at times, astounds and then somehow can’t completely stick the landing.

Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

Considering the entire film takes place in the confines of the school building, it’s a testament to Tøndel’s direction and Reinsve’s enthralling performance that the film avoids feeling claustrophobic.

While you know where “God’s Own” is going most of the way Lee finds a way to breathe new life into it (to a point).

While the film elegantly considers the relationship between Feña and their father in the third act, it still feels like something is missing from that aspect of the picture. Especially after Feña’s anxious build-up to his arrival.

Sure, the story hangs on by the thinnest of threads, it loses momentum in the second act, and one or two of the songs are just a bit too repetitive. Then again, you’ll laugh. Likely a lot.

The movie has its issues. . . The wrestling though? The action in the ring? Durkin’s direction of those classic matches? It often looks more “real” than the WWE or professional wrestling you see on television today.

It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.