Molly Eichel

Moss and Waterston are incredible, and even though Queen of Earth is purposefully not a readily digestible film, they keep it intensely interesting.

Until Steak(R)evolution gets repetitive, it's fascinating to see how everything, from culture to politics, affects what we eat and how we eat it.

There are the bare bones of a plot, but the true purpose of this animated feature is to highlight Gibran's poetic essays, recited sonorously by Liam Neeson.

Like "Compliance," Z for Zachariah shows how terrifying and redeeming interpersonal relationships can be. We crave human contact, yet it can still destroy us, even at the end of the world.

Perhaps it's for the best that We Are Your Friends doesn't try to appeal to anyone outside its stars' own kind. Fewer people will have to see it.

A loving ode to screwball comedies from the Golden Age of Hollywood that never approaches the films it pays homage to.

Comparisons to HBO's "Girls" will abound, but Fort Tilden has a more satirical bent than Lena Dunham's much-talked-about show.

Watching these young men brutalize each other is troubling enough, but perhaps the film's most interesting angle is how the experiment changes more than its subjects.

There's nothing to say that crass can't be funny - and it sometimes is in Daley and Goldstein's iteration - but Vacation loses any of the ooey-gooey, family-friendly heart that made you really want Clark to get to Walley World to begin with.

While Thorpe ostensibly explores the sibilant consonants and careful enunciation that characterize what we have come to think of as "sounding gay," his film is really about his identity.

A mid-point twist is particularly ridiculous, and in an attempt to reconcile this turning point, the final act of the movie becomes a mess.

Eden is the kind of movie that hits you when you least expect it. Just when I thought it was a mess, its aimlessness began to make complete sense.

It's an interesting look at an often glossed-over aspect of the subculture - although the doc sags as it progresses into the mid-1990s and current modes of fashion.

When the films sticks with heart-tugging soldier stuff, it's not bad. When it goes beyond that premise, it becomes so entirely outlandish that it's not enjoyable anymore.

Acts more like a primer for newbies unfamiliar with the show's history, giving no real insight into Lorne Michaels' long-running creation.

Deserves to be considered on its own merits, and while not a masterpiece, it is beautiful, nonetheless.

The sameness of the two movies doesn't make the second feel like a re-tread. If anything, it feels comfortable.

Byrne and Kroll are the reasons to see Adult Beginners. The story itself feels truncated, like there are bits missing that we should see, ambling along.

A small, dreamy romance.