Jordan Ruimy

All four actors are perfectly fine here, but the set-up is predictably conventional.

Sober, unflinching and fits perfectly with the current political movements such as #MeToo and #TimesUp.

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

Despite its ambitions, Monsters and Men makes its weighty subject matter feels thin and slight.

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.

Much of the film’s success does reside upon Chbosky’s mostly restrained execution, but it is Tremblay that carries it. His fully rendered and exceptional performance is something of a miracle as it joyously goes past the prosthetics and into the core of his character’s roller coaster of emotions.

It’s an uneven film, but a deeply passionate one that also features an A-list actress at the top of her game.

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

Ultimately, the lack of risk-taking not only makes for a pedantic experience but ironically serves Tubman very poorly, never allowing for Erivo’s performance or the spirit of the subject to ever feel truly free.

As striking as some of these performances are, 6 Balloons is not without its problems. At a barebones 74 minute running time that doesn’t dive into the emotional texture as much as it could, 6 Balloons at times, feels slight.

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.

Dazzling in form and a chase film at its heart, Ready Player One is exhilarating, but it also can’t sit still. Fitting to the content perhaps, the movie still arguably suffers from troublesome A.D.D. with its hyper fast cutting and its tendency to wander narratively.

Appropriately frosty and aloof, The Lodge is a meditative plumbing of the darkest parts of the human psyche, our vulnerabilities, and self-doubts and it’s these personal fears that resonate loudly.

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.

Even as an homage The Hole in the Ground feels like business as usual rather imbuing the genre with a much-needed modern edge or new context.

Wakefield fights formula and creates its own unique cinematic language.

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

The film is a trifle, albeit one spiked with mirth and malice.

The meaningful topics of female sexual expression, repression, and desire for acceptance that “To the Stars” portrays are relevant, but it’s a shame they’re not more poignant and persuasive.

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.

Minghella surely knew that what he had here was a familiar story, but despite his gritty and admirable direction it fails to break the traditional formula.

Mandler’s background before shooting his narrative feature debut was in music videos and commercials, but the ADD-style filmmaking he uses for Monster suggests he’s not ready to fully command a two-hour movie.

Our Time is gorgeously shot, naturally, and the intentions are well-meaning but far too self-serving.

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.

Feeling stilted and steeped in uninspired biopic tropes, Kelly’s film never comes close to an inventiveness worthy of JT’s imaginative, outrageous story.

The first hour is overwhelmingly exciting as Levinson uses split screens and more stylistic techniques to make his story pop. The dialogue is also delivered in impressively natural fashion, with the leading quartet discussing subjects that capture the zeitgeist. However, the ultra-violent finale goes over the top, lacking the pizzaz and inventiveness of the film’s earlier stages.

It’s a film that you would, of course, expect from the director of such an entity as The Greasy Strangler, but, say what you will about that film, at least it wasn’t boring.