Jordan Hoffman

While the subject matter is enraging, the film is not without warmth and occasional levity.

Writer-director team Anna Boden and Ryan Fleck (It’s Kind of A Funny Story, Half Nelson) must be applauded for refusing to let their shaggy dog tale line up with any predictable storyline.

22 Jump Street is a success, as there is a little good ol’ fashioned “heart” beneath its post-modern veneer.

[A] gripping, well-acted and sharply-written low-budget drama.

For all of Mills’s cinematic tricks, he’s emerging as a great realist film-maker.

While some viewers may complain that the action is too heavily weighted toward the ending, I’d argue that this is a strong example of destination-not-the-journey film-making.

Private Property’s vicious form of prurience may make some queasy, and is hardly the type of movie that could get made today without great backlash, but there’s definitely more going on here than mere time-capsule curiosity.

Cage, not one known for subtlety of late, is truly great in this sad, funny and tender role.

Howe’s film is drenched in empathy, where violent actions aren’t exactly excused, but at least framed with understanding.

Jarecki uses Elvis Presley’s career and influence to help us make sense of fame, power, corruption, self-destructive behaviour and pretty much all the other ills of the world.

Adrift doesn’t have quite the existential gut-punch of JC Chandor’s similar All Is Lost or the recent Cannes debut , but what it lacks in the department of pure howling cinema, it makes up for with the emotion of its central relationship.

What The End of the Tour tries to sell, and sells well, is that Wallace’s big heart was just not made for these times.

You’ll laugh if you’re young, you’ll laugh if you’re old.

Despite the presence of grandfatherly Michael Caine, Kingsman’s tone is about as far from the Christopher Nolan-style superhero film as you can get. Verisimilitude is frequently traded in for a rich laugh. The action scenes delight with shock humour.

Much will be said about Gray’s cinematic craft (as is often the case when a director works with cinematographer Darius Khondji) but beneath the slow roll down the river pierced by arrows from unseen, defensive natives, there’s a fascinating, mercurial screenplay that offers just enough to keep you journeying for more insight.

Many a first-time film-maker thinks they are too good to follow any sort of rules, and blends genres by writing from a purely instinctual level. More often than not, the result is unpalatable. The Mend, somewhat miraculously, is here to buck the trend. Let’s just hope that not too many people decide to follow its lead.

There are issues of trust between the two men. It’s unclear who is exploiting whom—and impossible to know what is being recreated for the camera and what is being captured “live.” This is all to the betterment of Voyeur, which, it isn’t too much of a spoiler to say, ultimately concludes that Mr. Talese and Mr. Foos aren’t all that different from one another.

The Duke of Burgundy will have its detractors. But this is not just a filthy movie. It's a considerable work of art, and one that touches on a rarely discussed side of human sexuality completely free of judgement.

It is a bravura debut from a young film-maker, proving that one can still make a movie for no money at a family member’s house and come away with a work of art, not just a calling card.

About Elly is remarkable for both its universal observations about human nature and its specifics.

Out 1: Noli Me Tangere is confounding at every level.

This movie may be too slow and verbose to be the next breakout horror hit, but its focus on themes over plot is what elevates it to something near greatness.

Even if Aisholpan’s training – which includes hoodwinking, responding to calls, dragging dead foxes and other hallmarks of falconry – is for the camera, it doesn’t make it any less extraordinary. Especially in this remarkable environment, captured in breathtakingly crisp digital video.

Not all is explained in A Ghost Story, but enough is there for vibrant discussion to break out the minute the credits rolled.

Mistress America eventually travels down roads of broken trust and acceptance of reality, but please don’t let those heavy themes suggest this movie is anything other than pure delight. The primacy of the joke rules the day.

The ending doesn’t quite land the gut punch it’s hoping for, but this is more about fun than about exposing deep, nefarious truths. At least, I think it is.

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

What Meadowland refuses to do, to its great credit, is conform to expectations.