Nikola Grozdanovic

What it lacks in cinematic girth, it makes up for in factual appeal.

The cinematic trickery on display – lurid dissolves, off-kilter juxtapositions, and bizarre dance numbers bouncing around Chloe’s brittle mindscape – compensates for the skin-deep thematics, and keep the rhythm of the film popping.

Under The Influence is ultimately much more of a listening pleasure than a viewing one. Neville's by-the-book direction makes sure of that. That said, Richards is an undeniably magnetic force of nature that keeps the attention span reined in for the swift 80-minute runtime.

Once it ends, you may be panting from exhaustion while still appreciating that Endless Poetry is greater than the sum of its parts as it feels naturally necessary and appropriately organic to the series.

The Grand Seduction reeks of a pleasantness that makes for a very soothing watch. The lack of character depth and the contrived plot won’t be placing it near any top ten lists, but there are far worse ways to spend two hours in a theatre these days.

You’ll walk away almost certain that you’ve seen a decent thriller, but your thoughts may stumble on the word “thrill.”

There's vision here, clearly, and through the use of eye-catching frames and a standout score, "The Fits" works like magic as an experimental performance piece. As an engaging work of well-rounded cinema, however, there are more than a few missteps.

So the story is relentlessly rudimentary and it’s directed in an expected, uncomplicated, formulaic manner.

It’s all fun and games and one big, great joke as we watch the cantankerous Jean-Luc dismiss his admirers and spit on contemporary cinema, but it’s hard to praise Redoubtable as a great film once its final act comes around

Without the performances and splash of style as support, the film would collapse, because the story is indisputably boxed inside a square of standard dimensions.

While zooming in and out of Burre’s life, Greene foregoes true insight in favor of a stylistic approach, using the kind of cinematic language that’s often reserved for fiction and feature films, and the result leaves you admiring Actress greatly, but from a distance.

From the performances to the repetitive jokes and bizarre actions that have little bearing on anything, Slack Bay exhausts you with its intense spirit.

As aesthetically dazzling as this picture is, with hypnotic compositions carved through meticulous mise-en-scene, there are certain conventional lines which — when crossed — must warrant good reason. In this case, the activity on the screen must be immersive and interesting enough to balance out the physical endurance asked of the viewer by the creator.

As compelling as R100 is in spurts, it's ultimately an exercise in excessiveness that only a niche audience will be able to fully stomach.

As visually arresting as Kornél Mundruczó’s latest film Jupiter’s Moon undoubtedly is, it remains too intellectually imprisoned within its own allegorical confines to make a truly positive impact.

While the execution may be somewhat of a misfire, the obvious effort and thought put into making the concept work is worthy.

Sadly, the core of ‘Fade’ is essentially banal, and the narrative is too blunt and inert to make any kind of lasting impression.

Thanks to a few exemplary moments of monumental acting from Hoffman, truly harmonious singing from the boys, and a graceful score by Brian Byrne, Boychoir is, at its best, a comfortable viewing and listening pleasure.

By pointing their camera at the Red Mosque, Trivedi and Naqvi add surprisingly little to the conversation.

The silent scenes, which hold so much power in the first act, feel emptier and emptier, as the conclusion nears. Moments where Halpern’s score felt like it was adding to what was on screen, turn to moments where it’s compensating for the lack of interest.

Amalric puts all of the esoteric artistic tendencies that are part and parcel of the creative process into “Barbara” and comes up with an incoherent mess of a docu-drama. The entire film feels like a playful experiment that never evolves beyond a concept, like an unlit cigarette, never getting the spark it needs to fulfill its purpose.

There are moments when the fabrication behind Claire’s arc breaks to reveal a real person, and the filmmaker’s have Aniston to thank for this, because it’s certainly not the bland dialogue or unremarkable events.

A couple of exhilarating cycling scenes, and a pretty solid lead performance, does not a good movie make.

It’s a narrative vacuum big enough to make you mad at this melancholy werewolf drama for not being, at the very least, good.

This is one of those mind games that lean too heavily on the mindless to be thoroughly enjoyable, turning sadistic pleasure into harmless boredom.

Some intriguing dialogue, and a closet full of fantastic frocks, can’t help an impressive ensemble cast save A Little Chaos from being a lackadaisical picture, far removed from anything remotely exciting as chaos.

Perez appears content with representing UFW's past strikes and boycotts like a segment from the History Channel, while having the interviewees—relatives, people who worked closely with Chavez—focus on how much good Chavez has done, rather than how he has impacted them.

The documentary struggles to remain relevant throughout its short run time, and wobbles between glorification and reflection until it completely tilts over.