Kevin Jagernauth

Love, Rosie doesn't aspire to be anything more than a digestible rom-com trifle. It's a sweet movie about sweet people who are always sweet to each other and it's enough to make one sick on the saccharine.

Trying to find a middle ground between an action packed Statham vehicle, a '70s style mood piece, and a '90s era, character-actor packed crime tale, Wild Card is not surprisingly an unsuccessful marriage of those ill-fitting genres.

As Night Will Fall shows, even in the darkest hour, sometimes the greatest heroes are those willing to stare bravely into humanity's worst depths and tell the world what happened.

This film requires so many leaps of faith and suspensions of disbelief that you might develop acrophobia.

Sadly, the sequel isn't even so bad as to be memorable. Instead, it's vaporous, not even possessing the qualities indicating that anyone involved cared about any detail of the film.

Red Knot" is insightful in the way few first films are, and marks Cohen as a filmmaker to watch.

For filmmakers Angus Macqueen and Guillermo Galdos, they've undoubtedly chosen a great subject for a compelling documentary. Unfortunately, they squander the opportunity with Drug Lord: The Legend of Shorty, and it's due to the common problem of contemporary documentaries, where the directors get so far in the way of their own story, that any context or objectivity is lost.

Time Out Of Mind is a film of tremendous patience and pace, as it wants you to inhabit every minute, day, hour and year of homelessness. But it's through that considered approach that the reveal of George's deep self-hatred and low self-esteem carries an extraordinary power; time has worn his sense of self to the point of despair that's deeply moving.

The Dying Of The Light is forgettable, anonymous and at times almost amateur, and the product of a director searching for a new method of storytelling.

Not only a searing look at Europe's painful involvement in participating, encouraging and backing regimes of oppression, Concerning Violence makes it clear that not much has changed in the fifty years since Fanon's powerful words were first printed.

Mahony and Sampson certainly know how to lay out a crime/thriller/comedy structurally, but unfortunately, they mishandle the tone and momentum this sort of movie needs to work.

It's rare to see any blockbuster in any genre make decisions informed and driven by character, rather than by the more superficial requirements of blockbuster entertainment, but the rewards in that regard are plentiful in Mockingjay.

A fascinating story told with deep insight, Little Hope Was Arson finds that both fire and forgiveness burn in different ways.

There is a better, more contemplative movie to be made with this material, but with Brand and the filmmakers opting for cheap thrills, it leaves the movie, like the passengers on the plane, stuck on the tarmac.

It's not the most complex WWII movie you'll see, but there's no denying the blunt intensity of Fury, and even if it doesn't sustain, Ayer commits to staring straight into hellish eye of war and bringing audiences along to witness every gruesome detail.

While Gone Girl is certainly his slightest film to date, it's nonetheless undeniably gripping. Fincher clearly enjoys turning the screws and rounding the wild corners of the plot from the first frame.

While a truly original comedy, While We're Young is the rare one that also laces rich thematic elements with wonderfully drawn characters to create a picture that's as genuinely hilarious as it is thoughtful about how hopes, ambitions, dreams and ideals of personal and creative accomplishments that ebb and flow across decades.

It avoids the trap of simply being a celebrity vehicle about celebrity, by displaying a surprising heart beneath its very funny surface.

Competently directed, and delivered with the expected emotional beats, Still Alice achieves its modest goals, but one wishes it had a grander vision.

Pawn Sacrifice certainly whips up a dervish of energy, and as a piece of dramatic entertainment, it's mostly engaging, and features character actors doing very good work.

The mileage will vary depending on how you've felt about the progression of the series so far, but if you're even mildly curious to find out what awaits the outrageous and exasperating Henry Fool, Ned Rifle is worth making some time for.

It's a shame Reitman goes down such a dull and tired road with his movie, because the cast give some really nice turns.

Love & Mercy isn't a standard celebration nor a traditional music biopic. Instead, it's a survival story.

Though LaGravenese's faithfulness to the songbook is perhaps admirable, the results don't quite work cinematically.

The Keeping Room attempts a blend of sexual curiosity, home invasion horror and elegiac drama, that doesn't quite work, but whose ambitions are nonetheless compelling.

While the idea is original, it's also ridiculous, and the story is not close to clever enough to put it into any kind of context that is compelling, interesting or believable.

Woefully misguided, Black And White is at times painfully quaint and obtuse about contemporary issues surrounding race and class.

Felony isn't a federal case of a bad film, but it's certainly a serious misdemeanor, one whose crime is running away from the challenge the story sets up, to settle on something cheap and conventional.