Jose Solís

Joan’s peculiar kind of charm is mostly owed to Allen, who gives what might be the most complex, layered performance of her career.

We’re left with a muddled portrait of a young man unaware of the creativity within him, a charming artist in the making who invited us into his life a little too early.

Destin Daniel Cretton’s adaptation of Jeannette Walls’ memoir The Glass Castle is more affected than affecting.

In 4 Days in France, writer-director Jérôme Reybaud establishes that almost any connection between humans, whether physically or digitally, can never truly be meaningless.

Girls Trip feels like the first of its kind: a raunchy, endlessly entertaining comedy written by and starring black women.

Are there rules on how to make a space epic? If there are, Luc Besson has certainly never heard them because in Valerian and the City of a Thousand Planets, he takes the genre upside down, gives it a shake and rattle, and delivers one of the most positively bonkers films of the year.

Béatrice is perhaps the polar opposite of what we think about when we think Deneuve, and yet, as with all the other eccentrics she’s played, the actress grounds her through an otherworldly grace and humanity.

Narration is juxtaposed with cleverly selected and edited shots from TV and film appearances...that give Escapes the shape of a collage or a Russian doll, depending on how Fancher is telling the story.

If the ultimate result isn’t precisely perfect, it should serve to announce Young as a voice we ought to get to listen to more often.

Morrison proves that there is no better way to tell the story of movies than with movies, and it seems almost spooky how the Dawson City reels supplied him with the material he needed.

It’s clear that Katz is more interested in the idea of playing with movie conventions than with crafting anything remotely resembling reality. It’s a joy to immerse oneself in his cool, neon-lit world, a place where movie characters speak like movie characters and the dream of justice is inescapable, even if the movies have taught us better.

Through focused, economic storytelling director J.D. Dillard turns Sleight into the rare kind of film that feels both familiar and unique.

It’s easy to forgive it for its shortcomings, for rarely does the idea of death elicit the warmth and utter charm as it does in this documentary.

While Lazer Team might not be the most original of sci-fi comedies, it possesses the kind of self awareness — and unabashed love of genre that other films try to pass off as “homage” or “ironic referencing” — that make it quite impossible not to root for it to succeed.