Marc Savlov

The Polish/Israeli co-production picked up the Best Horror Feature award at Fantastic Fest 2015, and it’s a shame that Wrona is gone, but at least we have this superlative example of his cinematic brilliance.

It’s a phantasmagorical chase movie that rarely takes a breather long enough for you to enjoy the sights along the way.

Come What May over-romanticizes the horrific, forced French exodus.

Starving the Beast does an admirable job of making even the most arcane of arguments and abstruse alliances plain and clear.

Gordon-Levitt, however, nails the part completely, physically hunching down into himself and getting Snowden’s halting, thoughtful speech patterns just right, while Stone, working with screenwriter Kieran Fitzgerald, creates a whirlwind ride nearly but not quite worthy of The Parallax View-era conspiracy thrillers.

The Land isn’t a perfect film, but it is a hell of a good start, and director Caple Jr. – and his young cast – are artists to keep an eye on, for sure.

It’s a fun and mostly effective ride while it lasts, part Slenderman creepypasta weird and part full-on, nerve-jangling horror, but it’s ultimately, perhaps unavoidably, unsatisfying.

The Disappointments Room lives (and dies) up to its name.

Eastwood keeps his direction lean and mean. There’s not an ounce of wasted screen time in Sully’s 96 minutes, but the story, an example of “truth is stranger than fiction,” has all the thrust it needs, and then some.

It’s a pleasure to watch, if not always to sit through.

The subtitle of Richard Linklater: dream is destiny is drawn from a line of dialogue found in his equally groundbreaking and hypnagogic animated art film "Waking Life," and it serves as a mission statement of sorts for his entire oeuvre and endlessly curious philosophy.

Notably, Phantom Boy treads territory that’s similar to much of Hayao Miyazaki’s work, with a main character seeking the otherworldly in the face of a terrible reality. Missing, though, is the narrative and emotional cohesiveness that would likely have led to Felicioli and Gagnol’s film being a more engaging and memorable work

Anything but dull, Gibney’s clarion call whipsaws along like a combo Jason Bourne/007 thriller minus all that running. Unnerving and likely to give viewers some bitter food for thought, Zero Days is Gibney’s most important work yet.

Collision Course is overstuffed with meandering, unnecessary micro-storylines, far too many new characters, and an obvious lack of focus, none of which should impact the movie’s target demographic, kids under 10.

Honestly, I could watch Goldblum and Gainsbourg – two of the most quirkily sublime multihypenate artists alive – reading phonebooks to each other and enjoy the experience thoroughly, but sadly even they seem wasted here.

This documentary is the sort of film that will leave both young and old(er) film fans grinning like the boys (and one girl) who dreamed the whole fantastic, mad scheme up in the first place.

Longtime World of Warcraft players should and likely will storm the cineplex gates, burn the castle down, and salt the earth (and screenwriters) from whence this abomination sprung. Me, I’m going to chill out and download 1982’s top-notch "The Sword and the Sorcerer."

Refreshingly, there’s nary a cheap scare manifested in this Conjuring, although the unspoken corollary to that is that The Conjuring 2 just isn’t very scary, or even unnerving.

No groundbreaking cinemagic there, but Out of the Shadows’ oddball moments keep things weirdly surreal throughout.

"The Cross and the Switchblade" it’s not; this is the reality of Ukraine today, and Crocodile Gennadiy is a badass man on a mission … from God.

Allen’s film is as much a self-reckoning as it is a cautionary tale for other spiritual seekers, and as such it offers invaluable insights into how cults – and especially cults of personality – function and grow. “Namaste,” for the record, is also an anagram for “Me Satan.”

The twist – and it’s a smart, effective one to be sure – is that this time it’s not a bunch of beergasming dudebros making life hell for the Radners, but an off-campus sorority led by Moretz’s feminist-slash-party powerhouse blonde, Shelby.

Maybe it’s supposed to be the enlightening tale of one bird’s self-redemption from neurotic negativity, but I just wanted to punch this film in the snout.

You miss out on this and you miss out on something entirely, amazingly original and jaw-droppingly entertaining. C’est magnifique!

While there’s hardly a plot to speak of, that’s never hobbled Linklater before and is indeed the director’s keenest, cleverest trick: the ability to make something sweet, honest, and true out of the ephemeral marginalia of youth minus the rose-tinted bullshit.

Eye in the Sky maintains nerve-racking suspense throughout its running time and explicates some of the unknown nuances of drone warfare. Plus, you know, Alan Rickman is reason enough to see it.

Of course, the film is critic-proof, but as a longtime comic book (and film) nerd, I can say with some surety that Snyder has crammed too much of a great thing into his film, resulting in a super-slog that has just too much of everything.

This is Baron Cohen’s worst film, period.