Nick Allen

One can imagine that Sollers Point might be better if its focus expanded to the area's inhabitants, not just Keith.

Part of the thrill in watching Niccol’s movies is in seeing him thoroughly curate dreams of our future that play off like logical possibilities.

Co-written by Shawkat and Arteta, there is an unshakable theme in here about two artistic women trying to find their voice. It’s more of an issue that Duck Butter makes up what it wants to say as it goes along.

True to Lee’s reputation of playing with the chemistry of storytelling, Pass Over has the air of an experiment and the clarity of poetry, as inspired by the news and told by artistry beyond far beyond Lee’s. In the grand scheme of his filmography it’s one of his smaller projects, but it is by no means a minor work.

In its righteous outrage, I Am Evidence pulls no punches, and is unafraid to call out the system.

With little wit to its name, Sherlock Gnomes becomes far more tedious than playful.

It's telling that Demon House features a real-life exorcism, but it feels more superficial than supernatural.

As the story bloats to two hours by mistaking itself for an epic, The Outsider falls into a pit of boredom somewhere between the white savior complex of Tom Cruise in “The Last Samurai” and the much slicker kills by Alain Delon in “Le Samourai.”

Even if it's not that funny, Detective Chinatown 2 proves to be snappy and persistent, complementing its bright color palette and energy with basic goals to alternate between silly, dark and slightly clever.