Jordan Ruimy

Doillon tries to dramatize Rodin, but makes it seem as if there wasn’t much drama to his story.

Through effective direction, the activism on display here is inspiring enough to rile one up to set aside preoccupations and try to make a difference in the world.

The tension that Franco builds with every scene is crafty and strong, leaving one curious enough to wonder where this narrative is going.

Wakefield fights formula and creates its own unique cinematic language.

It helps that the chemistry between Lister-Jones and Pally works, but one does wonder if another pass at the script would have elevated the film for one to care more about what’s at stake.

Although the film flies off the rails in its climax, the rest of Brigsby Bear is an outrageous concept that’s pulled off quite well.

Newness attempts to be a prescient look at modern passion, but it ends up recycling the same old tired clichés that invade most sappy cinematic love stories.

An Inconvenient Sequel: Truth To Power is an important and relevant worldwide look at the environmental crisis.

For a film that has such an intriguing premise at its core, The Yellow Birds seems to drag due to Moor’s abrupt tempo changes and flat visual style.

[Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.

One of the sexiest and most joyful road movies in some time.

What one takes away from My Life As a Courgette might be a casually simple and forward affair, but a deeper, more considered look at Barras’ moving tale reveals an emotional resonance and non-saccharine uplift that is mostly rare in today’s animation world. Consider it a diamond in the rough.

Biller explores female fantasy in the most diabolical of ways imaginable and gender politics are dissected with a brutal honesty that could infuriate some feminists with its observations.

While ‘Life’s Journey’ might be a deeper meditation on the meaning of life and deeper questions of who we are, The IMAX Experience is a more realized version of similar ideas. Ultimately, The IMAX Experience is a tone poem that not only pays tribute to planet Earth and the life that inhabits it, but marvels at how this miracle was created.

The story is a simple one, and sometimes it might feel a little too slight for it own good, but Paulson carries it all the way through with bravado acting.

Oldroyd captures our gaze with every frame and doesn’t balk at the story’s more shocking sections. He means to shake us and does.

While Denial doesn’t do anything new on a technical side, it is fully aware of its gripping plot, one that welcomely avoids pushing its inherent clichés to the forefront of its story.

Whereas the aforementioned Southside With You was a calm, romantic watch, this is a serious and refined drama which has the feel of a political firecracker.

The plot structure is convoluted and all-too familiar, leaving almost no trace of originality or curiosity at the table.

If George set his sights on capturing the effects of this tragic stain in history rather than love-making, we might have gotten a drama worthy of the talent involved.

Wildly bizarre and imaginatively alluring, if not occasionally slight, the animated movie, My Entire High School Sinking Into the Sea, is an engaging surrealist take on the disaster movie.

It’s a real shame that Walsh decides to concentrate a big chunk of her movie on the stilted love affair between Everett and Maud, in a relationship that starts aggressively intriguing, but becomes the definition of saccharine by its climax.

If the first half is an indelible treat and gives one high hopes that a film delicately placed in the awards season will in fact meet its steep expectations, the second half is troublesome and falls flat.

Deepwater Horizon reminds us just how talented an action director Berg is and how often substance becomes a second thought for the director.

[Chan] brings energy to a film that desperately needs any kind of life, but there is only so much Chan can do.

Embers attempts to be a complicated dissection of a possible world not too far ahead of us, but it lacks the imagination to make us soar along with its vision.

It might not be as risk-taking as previous Shainberg gems, but his knack for expertly crafted drama remains.

The difference between Lights Out and any other mainstream horror movie is that it actually uses the dark as the center of its plot, organically drawing out the majority of its jump scares in the process.