Marjorie Baumgarten

The Wedding Plan isn’t a romantic comedy in the familiar screwball tradition. In fact, what makes this Israeli film so intriguing is its absence of tradition.

For the iconoclastic film director Ken Loach and his longtime screenwriting collaborator Paul Laverty, I, Daniel Blake represents their most accessible film ever.

With its period-perfect recall of Seventies fashion and cocaine consumption, Chuck’s rise-and-fall story bears greater resemblance to "Goodfellas" than "Rocky" or "Raging Bull."

The film is a sharp and keenly etched study of a man who would be the sidekick to kings.

In the end, however, Poitras’ portrait of Assange in exile exudes a less acute sense of history unfolding before our eyes than does "Citizenfour."

The humor is both broad and lowbrow, yet often extremely funny.

As breathtaking as the imagery is, however, the script, which is narrated by John Krasinski, is a mess of anthropomorphic goop.

The Promise may not be the greatest movie of its type since "Hotel Rwanda," but purchasing a ticket to this solid if predictable movie is a sure way to thumb one’s nose at deniers of the Armenian Genocide.

It results in very little fresh insight that might allow us to feel that Linda Bishop didn’t die in vain.

Seeing what St. Andrews’ greens must have looked like in their native days before all golf courses became zealously manicured is refreshing. The film’s action, however, is rarely filmed in a way that highlights the action, and the story’s biographical elements lack dimension and drama.

Their Finest may ultimately be the best words to describe the amalgamated work of all participants in this film.

The geezer humor is just as funny here as it was in the original version of this film, which starred George Burns, Art Carney, and Lee Strasberg. I mean this as a compliment, although it’s, admittedly, a bit backhanded.

Despite its inadequacies, however, The Zookeeper’s Wife conveys a tale of courage and opposition to authority that provides valuable inspiration for any era.

A reasonably enjoyable, if utterly predictable, romp.

You can’t stop watching this film, even if you can’t always express in words what you’re seeing. Intuition fills in the gaps.

If only the movie that encases this character were as sharp and distinctive as Harriet.

The film aims to be a cautionary tale, but it doesn’t seem that the filmmakers have absorbed the lesson.

Even though there’s a great deal to admire in Ducournau’s debut outing, Raw will mostly appeal to the taste buds of horror connoisseurs. Skittish consumers should consider other dining options.

Ultimately, this is a movie that’s more about the Ottoman Lieutenant’s Woman than The Ottoman Lieutenant himself – another example of the film’s epic misdirection.

This French movie uses remarkably expressive stop-motion animation to create an honesty and sense of whimsy that help offset the darkness of the intrinsic story.

"Avatar’s" Worthington is adept at playing a tortured soul, but his American accent and dramatic range are both wanting in this movie.

Blitz, however, brings no visual snap to Table 19’s proceedings, and maintains a distant relationship with its characters.

Before I Fall puts all its excellent elements in service to a story that’s well-told and has a valuable lesson.

Although the plot is thin, Rock Dog nevertheless charms with its engaging central characters and unencumbered storyline.

Not only does this genre exercise deliver the little jolts and inside laughs that keep modern horror fans pleased, Get Out is also one of the smartest, funniest, and most socially astute films to come around in a while.

Fist Fight is not a complete dud, but it does grasp at the lowest hanging fruit for its humor.

The horror that lies at the heart of the film is fairly obvious, and with no characters for whom we have a rooting interest, A Cure for Wellness is as difficult to swallow as castor oil.

There is a certain sweetness to this teen romance and Gardner’s naive fascination in the newly discovered wonders of Earth. But there is so much that is dopey, on both a scientific and emotional level, that The Space Between Us strikes with the impact of a crash landing.