Peter Sobczynski

An ambitious but occasionally uneven animated film.

Those willing to give No Future a chance will find it to be a fairly smart and realistic depiction of two people consumed by grief, guilt, and loss and the misguided ways by which they attempt to come to terms with those feelings.

Admittedly, this 85-minute film is not the kind of movie you wish that had been a lot longer. And yet, it's still worth exploring for a number of reasons—primarily the strength of Crawford’s performance—and those who do not have a problem with raw and unflinching dramas may indeed find it well worth watching.

Despite its early unevenness, Only the Brave tells its story in a sincere and relatively non-exploitative manner that isn’t overly dominated by visual effects, and the cast does some very good work as well.

Cuartas' film provides a generally interesting spin on both the vampire mythos and more typical dysfunctional family dynamics. And while I can't promise it will provide you with a good time at the movies, at least in the conventional sense, I can tell you it's one that's likely to stick with you for a while.

While A Master Builder never really catches fire as a film, it is still more or less worth watching.

Despite the occasional rough patches, there are still some things about Krampus that I did like quite a bit. Although the humor is not always successful, I liked the fact that Dougherty played the material in a relatively straight manner and resisted the urge to go for a more campy approach throughout.

What makes La Camioneta so interesting is not so much the story that it tells as it is the way that Kendall has chosen to tell it.

While Juniper as a whole is not great, it has enough wit and intelligence to be better than it sounds. Most of all, it has Rampling, as captivating as ever; she proves once again that she can single-handedly take somewhat dubious material and make it eminently watchable.

As it turns out, "Norte" is not quite the epochal work of cinema greatness that some have suggested but it is hardly a miss either. There are moments of staggering beauty and power on display here and yet there are also moments when it seems to be ambling around with no clear idea of where it wants to go.

This is a modestly scaled B-movie by one of the best genre filmmakers of our time, Walter Hill, that has enough skill and personality going for it to make it worth checking out, even if it doesn’t quite live up (or down, depending on your perspective) to its borderline sleazy premise.

This decidedly dark and super-violent South Korean crime drama from Kim Sung-su tells a tale so jam-packed with betrayals, double-crosses and alleged authority figures that even the most dedicated of genre buffs may find it too unrelentingly grim and cynical for their tastes.

While originality may not exactly be in great supply here, these familiar elements have been mixed with enough wit and style to make for some sleazy, insanely violent, and reasonably entertaining B-movie trash.

On the one hand, it never quite works in a conventionally satisfying manner—it is wildly uneven, occasionally obtuse and it never quite seems to have a solid grasp on what it is trying to say. On the other hand, it still manages to register in a number of unusual ways thanks to its haunting visual style, offbeat tone, and its intriguing method to put us into the disintegrating mindset of its central character.

As the saying goes, I may not know art, but I know what I like. I like this movie.

The results are uneven — how could they not be? — but the sheer weirdness of the whole enterprise has a charm to it and it certainly is never boring. Bewildering, maybe, but never boring.

It is ridiculously lurid trash from start to finish and anyone trying to argue otherwise is as crazy as its central character. However, while its aim may be low throughout, it at least comes close to consistently hitting its targets.

Whether or not Blanco is able to save his factory, Bardem is able to navigate the narrative missteps surrounding him and ultimately make "The Good Boss" worth a look.

Outlaw Posse doesn’t quite work in the end but there are enough moments of note scattered throughout it to let you forget that from time to time.

Most of this is interesting enough, although a little too self-congratulatory at times, but A LEGO Brickumentary never really goes much deeper than that.

A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never quite manages to turn that particular corner.

Although some of the footage seen in “Porcelain War” is grim and hard to watch, the film is ultimately a celebration of the resiliency of the artistic spirit, even in the most horrifying of circumstances.

It isn’t bad, per se, but I just never felt the emotional impact it's clearly hoping to achieve.

Aan odd fusion of an earnest socially conscious drama and a B-movie mystery programmer that never quite comes together despite a strong performance from Adele Haenel at its center.

Ultimately, Greenland never comes together into a truly satisfying package, but it deserves a little credit for trying to do something unique within such a familiar framework.

The film bizarrely takes what could have been a touching and powerful drama about the traumatic family ties that bind (and occasionally choke) and attempts to refit it as a straightforward, if mostly low-key horror exercise chock-full of scenes involving various things popping up out of the darkness with numbing regularity.

This is an interesting concept in theory and for a while, it is undeniably compelling to watch, aided in no small part by a couple of strong performances at its center.

It isn’t necessarily bad, per se, and it contains just enough in the way of intriguing elements to more or less hold one’s interest for its running time. However, Next Exit never shifts into a higher dramatic gear at any point, and it concludes on a note that is more than a bit unsatisfying.