Michael O'Sullivan

At times, May December feels like an interrogation of the elusive nature of truth.

It’s not a bad movie. It’s like several pretty good ones.

Needlessly complicated and at times almost impossible to follow, its narrative inscrutability often coming across less as the result of nonlinear storytelling than as simply a cinematic affectation.

As far-fetched as it sounds, such torque-y plotting works, catching the audience off guard, even if the quasi-feminist payoff is less satisfying than it should be, thanks mostly to the film’s puerile fascination with girl-on-girl action.

It’s an emotionally stagnant affair, whether it’s going for laughter or tears.

In the end, what mars "Timothy Green" most is its middle-of-the-road approach. Its appealingly quirky, fairy-tale-like center is so coated with sugar, it cloys. It's not that "Timothy Green" is odd, but that it isn't odd enough.

Uprising is loud, packed with impressive effects and propulsive — or as propulsive as a car with no brakes going downhill — but it lacks the heart of del Toro’s original.

Your Name is still highly watchable, even when this mystical Young Adult love story cloys — or confounds.

The anarchic spirit of the film suggests the screenwriters (brothers Kevin and Dan Hageman, Paul Fisher and Bob Logan) may also have been a little high on bee venom when they wrote this thing.

It has certain je ne sais quoi, if graphic nudity, self-referential humor and serial murder — neck stabbing, eye gouging, alligator munching and shotgun blasting — are your thing.

It's hard not to feel a certain affection for a tale that is so unapologetic about just that: affection.

The insecurities that seem to feed Rivers's often angry humor -- and that have left her face looking like a mask frozen in horror -- are left unexamined.

Parker the movie, like the man, delivers exactly as promised.

Aficionados of gore and guts may not mind the comfortably lived-in feel of this blood-spattered Green Room. But anyone looking for the ferocious originality, and unexpected humanity, of “Blue Ruin” will be disappointed by Saulnier’s uninspired cover version of a song we all know.

Let Me In wants to make your flesh crawl, and it probably will. But it's unlikely to ever get under anyone's skin, the way "Let the Right One In" did.

It's an infusion of zip that's sorely needed, because the chief deficiency of A Bug's Life so far is its blandness….The film's other weakness is the low-octane vocal performances of its leading cast.

It’s a heady dramedy, albeit without terribly many tears or laughs, except those that arise, perhaps unintentionally, from the incongruity of Stevens being repellent.

This very thinly sliced character study of beautiful if benighted adolescence is more a pre-coming-of-age tale, one that takes us close to, but not through, the transformative acquisition of good judgment.

With a surprisingly unhappy, anti-Hollywood ending that will appeal to those who like things dark.

Alice, Darling deserves praise for emotional verisimilitude and shading. It’s just a shame that, in some of its packaging, it oversells a story worth hearing.

The Marksman proves itself to be the cinematic version of comfort food: satisfyingly familiar but full of starch and empty calories.

The kind of stunning and contentious work of art that will leave a lot of folks speechless.

Lords of Dogtown isn't a cop-out, but rather an ever-so-slight concession to commercialism.

A well-crafted story with a unique voice. But its literary gifts are outweighed by its pictorial prosaicness. Dimming the screen in every shot is the unmistakable shadow of the page.

Maybe the whole endeavor is some kind of self-portrait of an artist who doesn’t know what he wants to say anymore, or how to even say, “I don’t know how to say what I want to say anymore.”

Hiddleston steals the show here, making wickedness and treachery look a heck of a lot more fun than virtue.

Plays like a piece of mediocre music, gorgeously rendered.

Strikes several beautiful and lingering chords about the human condition, but the notes of the music ultimately never come together to form a coherent song.