Jordan Hoffman

Throughout the picture you understand the miracle and good fortune of finding love, and recognize the great changes in tolerance American society is currently (albeit slowly) undergoing.

Blackhat can’t decide if it is a grim, realistic story from the trenches or cyberwarfare or a giddy, “who cares if that makes sense?” Bond film.

I'd place it more alongside the enjoyable The Visit or Split, and, indeed, there are some story commonalities with both. It is, however, masterfully shot, with great use of wide angles, cropped frames, and a sense of foreboding inside and around the concert venue.

If you do not find yourself hootin’ and hollerin’ at Viola Davis — excuse me, President Viola Davis — packing automatic weapons, tossing grenades, and charging into a helicopter, well, your loyalty to good, idiotic fun might be questioned.

I give the odd, small film Maggie all the points in the world for experimenting with genre-blending and subverting audience expectations, but there’s just too much about it that fails to connect.

Da Sweet Blood of Jesus isn't entirely successful – and certainly offers few new insights into the nature of addiction – but it remains a welcome change of pace.

Ryan Reynolds does the best he can with the material.... But any intelligence is tossed once we get mired in a series of dull chase scenes.

The result, while instantly forgettable, is a fundamentally pleasurable experience.

Carrie Pilby the film is 100% Carrie Pilby the character, a living quirk machine that in a lesser actor’s hands might be insufferable.

Both Rogen and Franco, who have marvellous chemistry and exude good cheer, continue to tweak their personas in this very amusing, very imbecilic film.

Bonello's decision to show rather than tell keeps the audience on its toes.

his bleak and somewhat sadistic picture is the type of movie that unfolds like a slow car wreck. You know something bad is going to happen, you just aren’t sure what, or how, and when it eventually happens it is repulsive and yet you still can’t turn away.

The bulk of The Intern is a morass of wackiness, a chain of sequences shot in a flat and predictable manner that range from tedious to idiotic.

Age of Adaline, which starts off looking like a frothy series of excuses to put Blake Lively in some fabulously timeless gowns, ends up an emotional and even bold chamber drama. Its ending is ludicrous, but also perfect, and I’d be lying if I didn’t get a little choked up.

It is highly likely you’ll forget the movie by the time you go to bed.

While engaging, this Desierto is a little dry.

Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.

There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.

Plaza has found her Ron Burgundy: the vessel of a true imbecile in which to pour her strange genius.

Naishuller’s technique is one that could be well served as a shorter gimmick; a solitary action scene in a larger film. Hardcore is unrelenting and unforgiving in its commitment to be loud, fast, destructive and gross.

Everything about this picture is at such a deliberate arm’s length that it is hard to know what is meant to be whimsical and what is serious melodrama.

No one in the film is particularly likeable, and while the global implications about epistemology are interesting, the specifics of this particular case, at least rendered here, are quite dull.

The whole picture is lifeless and without consequence.

Life After Beth, a frustrating affair due to its waste of resources, feels rushed and under-rehearsed. It is a style of film-making that hopes it can glide its way into your good graces on ad-hoc performance flourishes, a wall-to-wall audio mix and editing patches. One soon recognizes this all a cover for one key issue: a lack of original ideas.

There are sequences of the four prowling the streets on their boards with a fatalist, sinister beauty that show Caple Jr is more than capable of crafting striking compositions. Unfortunately, the jump from image-making to storytelling in this case fails to stick the landing.

Unfortunately both Eisenberg and Stewart, both frequently brilliant, are on unsure footing here. The movie simply doesn't know if it wants to be Jason Bourne or Cheech and Chong.

There aren’t any clever moments, just a parade of clichés you’ve seen in many other indie romances.

It’s as if everyone made this movie about the joy of being on vacation—while also taking one.