Justin Lowe

A discordantly derivative attempt at amalgamating divergent horror cliches and unrelated cultural traditions.

Rather than relying on amplifying typical genre conventions, Wingard methodically lays the foundation to set up this particular Death Note adaptation for a potential sequel, but the outcome is more deliberate than inspired.

The question mark at the end of the title becomes the most salient issue that the film considers, but don’t expect the Dalai Lama to provide a simplistic resolution. Although as warm and compassionate as ever, his quiet wisdom reminds us that there are still some mysteries that most of us remain unprepared to contemplate.

Wildly inventive on a micro-budget scale, actor Bill Watterson’s shift to directing is an impressively crafted feature that’s full of frequent surprises.

The Nile Hilton Incident represents the type of penetrating filmmaking that only a writer-director intimately familiar with Egyptian culture but possessing an outsider’s perspective could convincingly accomplish.

Spanish filmmaker Luis Prieto, who directed the 2012 remake of Nicolas Winding Refn’s Pusher, adroitly leverages Berry’s familiar face and onscreen persona to consistently escalate tension, as DP Flavio Labiano and editor Avi Youabian construct their shots and action sequences to enable her to totally own the screen.

As Catherine Bainbridge and Alfonso Maiorana’s astoundingly rich and resonant music documentary makes abundantly clear, American popular music – and the history of rock and roll itself – wouldn’t be the same without the contributions of Native American performers.

Writer-directors Calori and Testut have selected a significant challenge for their first feature, which succeeds more on its charm and determination than the classic attributes of movie musicals.

Closer in tone and old-school psychological fright tactics to the original film than either The Conjuring 2 or Annabelle, David F. Sandberg’s incisive approach capably resets the franchise.

There’s much that international audiences will find relatable and enjoyable in the film, which is graced with a particular empathy for human foibles and appreciation for the specific humor to be found in everyday family life.

Shea's intense focus on constructing an overly intricate plot isn't borne out by the film's visual style, which is more workmanlike than inspired.

The performances in the 1997 scenes are relatively low-key, relying more on the dramatic development of personal relationships than the shock value of unexpected events. The contemporary storyline offers little of particular interest, however, serving more to contextualize earlier developments.

If all of the overemoting can be ignored, Born in China delivers gorgeous visuals in its close-up perspective on some of the world’s rarest wildlife species, as well as the imposing habitats they call home.

Although visually observant, the film’s narrative remains frustratingly vague, disclosing little about its central characters and often burying the principal plot points.

Israelite, building on his experience with teen sci-fi feature Project Almanac, orchestrates a vastly more complex array of characters, action set pieces and technical resources for a combined effect that maintains dramatic tension even while teetering on the brink of excess.

Klein conveys his characters’ shifting mental states with expressionistic sequences that are often unevenly framed, shot from behind his subjects or even unfocused. The result can be intentionally disorienting, but not always particularly revealing. By contrast, the performances are far more compelling.

More accustomed to horror material than action extravaganzas, Stamboel and Tjahjanto’s nimble approach maintains a compelling perspective on the key set pieces without overstaging scenes or crowding them with too many extras.

Featuring a fast-paced plot and a snappy visual style, Park's absorbing third feature should appeal equally to high-tech enthusiasts and action film fans.

Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.

Kim keeps the action sequences tightly focused, particularly in the tense opening segment, but tends to let dramatic scenes go on for too long after they’ve conveyed their point.

This historical account offers an engrossing and accessible celebration of the game’s modern origins, enhanced by striking locations and a standout cast, led by Scottish actors Peter Mullan and Jack Lowden.

Title deploys a fairly effective range of horror techniques, including jump scares, misdirection and some oddly unattractive VFX to ratchet up the tension, although gore is at a minimum.

The film is often so deterministically plotted that a sense of creative detachment hangs over far too many scenes, leaving an impression that the filmmakers may sometimes be more interested in making grand statements than in engaging interest.

Directors Keith Fulton and Lou Pepe dive right into the school’s maelstrom of tragedy, dysfunction and boundless optimism, delivering an insightful, affecting film that casts sympathetic light on a neglected educational sector in a manner that acknowledges the dedication of countless career educators and may even help inspire a new generation of teachers and social workers.

Supernatural shenanigans and amateur sleuthing add up to mild-mannered entertainment in Jackson Stewart’s affectionately quirky directorial debut.

Dillard’s auspicious shift to features reveals an imaginative young filmmaker prepared to take manageable risks in pursuit of his personal vision.

I Am Bolt presents a dynamic, consistently engaging portrait of the mediagenic track star, and even if it’s sometimes too laudatory, there are also many moments of heartfelt sentiment throughout the film.

Even more inappropriate physical gags, foul-mouthed dialogue and outrageous situations all contribute to raising the stakes, as Waters pushes the cast to amiably outdo the original.