Ignatiy Vishnevetsky

In an era of predictably tweaked horror premises and haunted-house flicks with 10-dollar titles, a doggedly straightforward monster movie like Blood Glacier can feel refreshing, if not exactly fresh.

The cast is mostly made up of film and TV comedy pros, all of whom seem to be having a good time overacting Hosking’s Bizarro World dialogue.

Although the intriguingly named first-time director Greg “Freddy” Camalier makes the twice-told tales of the film’s second hour watchable, they end up paling in comparison to its essayistic first half.

Burger—a Hollywood journeyman who’s done some hackwork but began his career with the 2002 conspiracy mock-doc Interview With The Assassin—keeps things moving with a vérité point-of-view that sometimes makes it feel like the camera is the one doing the spying.

Early Man can’t overcome the limitations of its premise—one of Park’s less fruitful genre mashups.

[An] overstretched look at the poorly regulated medical devices industry.

It’s a movie that seems to have been designed more than directed, and edited around principles of color and line, rather than around performance or plot.

Coppola's approach to the subject is largely impartial; depending on the viewer, this can seem refreshing or off-putting.

Generic but enjoyable with some nifty low-budget effects work.

Boris Without Béatrice never feels like the work of an artist who actually believes in everything he’s doing.

If nothing else, Fishing Without Nets looks good on a big screen, directed in the kind of slick, just-off-arthouse style that mandates every shot of a character walking be framed from behind.

For someone so gloomily aware of his own privilege, Wilkerson spends a lot of the film playing dumb and speculating—a writer’s trick for giving shape to a piece with a thesis and no conclusion. He doesn’t have the footage to make Did You Wonder Who Fired The Gun? come together as an investigation narrative, and his insistence on a quasi-chronological structure means that it doesn’t work as an essay, either.

The film is far less than the sum of its possibilities.

In general, Mister & Pete succeeds with this sort of narrative small stuff, establishing the housing project’s internal mythology as well as the tricky dynamics of its underworld.

At times, it’s surprisingly compelling, thanks to King’s surefooted direction of actors and well-honed formal sense; while the movie’s execution never quite makes up for its conception, it does elevate it above, well, just being the sort of movie that would be called Newlyweeds.

In its highly combustable, confusing, angry environment, where everyone from parents to rioters to cops is just making it up as they go along, the only thing that seems to matter are the underlying drives, whether it’s goodheartedness or resentment.

The absence of necessity or consistency has its appeal; it guarantees that the movie stays unpredictable even as it pilfers shamelessly, piling cliché upon cliché, but rarely in a way that makes a lick of sense.

Regardless of its high aims, most of what The Insult offers—unlikely last-minute reveals, argumentative lawyers, stone-faced judges—is the stuff of a diverting, junky courtroom drama.

Unfortunately, Java Heat is also an action movie for people who don’t mind clichéd plotting, lame dialogue, and the low-wattage charisma of third-string Twilight heartthrob Kellan Lutz.

Although it isn’t actually a comedy, Iron Mask qualifies, in substantial stretches, as one of the funniest films of the year.

A by-the-numbers spaghetti Western that’s kind of slow and uneventful—and the world has no shortage of those.

The result is perversely watchable, which puts it a cut above the average inane wannabe franchise-starter. With no likable characters or internal suspense to keep it in check, Wingard’s direction sputters out into a cloud of slickness and pastiche.

Afterimage suffers from a clunky script and an overdetermined formal palette.

It’s a patchy and seemingly unfinished film.

Simply put, Don’t Go Breaking My Heart 2 doesn’t pop like a Johnnie To flick. Shooting in a digital format for the first time, and without his signature Technovision anamorphic lenses, To seems to have been thrown for a loop; his sense of space and rhythm are off, and his compositions are uncharacteristically flat and conservative.

It probably shouldn’t star Ryan Reynolds, who is generally likable, but frequently miscast. Only Kingsley’s bizarre, severely mannered performance seems to be following the undercurrents of the material.

The dancing is mostly depicted in practice and rehearsal in a featureless room, captured in raggedly cut handheld sequences that betray the movie’s modest means. If Akin knows how to direct better than this, he rarely shows it. But if he never displays a knack for visualizing the physicality of dance (more impressive rehearsal footage can be found in about five seconds on YouTube), he does a decent job of conveying the frustration and passion it inspires in Merab (Levan Gelbakhiani, a professional dancer).

Secret Of The Tomb plays it as a source of corny jokes, pop-culture references, and father-son bonding moments. In other words, it’s exactly the kind of film that shouldn’t be expected to engage with its assorted bizarre subtexts — but what a movie it could be if it did.