Nikola Grozdanovic

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

There's a tangible sensitivity to Kate Plays Christine that is constantly present as the project explores two personas and a gamut of topics (gender politics, gun control, and depression among them).

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.

Elemental in construct and narrative, the picture breathes through the screen during Theeb's moments of quiet reflection at his surroundings and all the cruelty the vast, all-encompassing desert has to offer.

Steeped in a culture rarely observed on screen, Bustamante's film has the airs of a documentary. Its ensemble cast of local actors have zero trace of affectation in their performances.

Too many times, Trash asks the audience to trust its characters and their words unconditionally by throwing around terms like "change," "hope," and "rights" with no basis whatsoever.

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.

Relentlessly paced, with the volatile ferocity of a rabid pitbull, Schneider vs. Bax is, above all else, pretty damn funny. That's if you're into Alex van Warmerdam's distinctive brand of humor.

Buried underneath the glop are interesting notions on reality, creation, and the nature of death. And thanks to its aesthetic, it's at least a very beautiful catastrophe.

Thanks to deplorable direction by Paco Cabezas, and a childishly broad screenplay by Max Landis, Mr. Right ends up all wrong.

With his monumental control of the camera —at times staying with characters during quiet moments of anticipation, at others panning slowly 360 degrees to envelop us in the entirety of the environment— Davies directs the most refined coming-of-age story cinema has seen in recent years.

Cloaked in a mystifying atmosphere and possessed by a transfixing, amorphous mood, Lucile Hadzihalilovic's Evolution is a beautifully strange hybrid of innocence and disturbance.

The force of originality felt in the narrative is only matched by Bellocchio's execution.

The film's MVPs are Bryan Cranston's dedicated performance as the title character, and, appropriately, John McNamara's jocular screenplay, with a terrific ensemble of supporters also along for the ride back to Hollywood's notorious past

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

A dysfunctional structure and some bizarre plotting stop the film from reaching greatness, but never from being endearingly satisfying.

Trying something different and playing around with convention is always commendable, but if The Reflektor Tapes proves anything, it's that the result can sometimes fail miserably.

It has all the makings for Green to find that sweet-spot between drama and comedy, and make something special. Instead, we're left with something exasperatingly bland and almost claustrophobically generic.

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

Ultimately, the main source of power behind The Second Mother is found in its effortless skips between character study, family drama, and silent socioeconomic warfare. The final result is a gleaming cinematic treasure as heartwarming as the film's final reassuring smile.

It's a wonderful thing to experience a film unshackled from Hollywood conventionality and unburdened by the necessity for simplistic storytelling.

Cary Bell’s Butterfly Girl is no reality TV show segment, it’s painstaking reality itself, told in confident style.

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.

Hayek's passion project is a stimulating success for the senses.

The Kindergarten Teacher is too lackadaisical in its execution to be as profound as it thinks it is.

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.

It’s a love story set in a contemporary world brimming with immigration issues, but it manages to be neither political drama, nor bubbly romance, somehow getting away with being labeled as a comedy.

Despite the valiant efforts from the two leads, the only thing of value that gets robbed in American Heist is our time.