Scott Wold

It’s tempting to believe a great sci-fi yarn exists in Carter, somewhere in the no doubt thick sheaf of studio notes demanding more spoon-feeding of an audience they believe to be equally thick. But more likely, it’s possible that Stanton simply wasn’t ready to make the leap from animation to super-budgeted live action.

This is a film that aims squarely at respecting its source’s established fan base, and cares little for casualties who can’t hang on through its grindhouse paces.

The world of Sugar Rush itself merits some mention, too. Deliriously inventive and pulsing with life, it almost seems a shame a real video game wasn’t developed from its blueprints; it’s a world in which one wants to linger.

The undertaking of an endeavor like this without prior feature film directing experience—as well as convincing a studio and many established talents to back him—is nothing short of extraordinary. But, in the end, The Man with the Iron Fists will have to settle for having crossed the finish line at all. Good hustle. Good hustle.

That Buffalo Girls makes its stand as an empowering journey of perseverance and champion’s spirit, rather than a reflection on the larger societal underpinnings is not to its detriment.

Cult favorite director Don Coscarelli knows which way to twist the knobs and navigate through the static of mindfuckery that follows.

Warm Bodies shambles along as inoffensively as its “regular” zombies—with little fright, little gore and an occasional chuckle. But, as a mild diversion that won’t bother either person on a date, one could do far worse.

Unsurprisingly, the substance of a movie genre is again enriched with his latest, masterfully spare and confident effort.

Despite doubling as a plausibility-straining endorsement for the battery life of Apple’s iPhone, Dickerson’s claustrophobic survival thriller proves itself a technically proficient, expertly paced affair.

As much as director James Mangold’s cinematic interpretation had going for it prior to pre-production, it’s a pity it only seldom succeeds—largely due to the decisions made way back before Darren Aronofsky was attached to helm.

When it adheres to this storytelling maxim, Jim Mickle’s gender-flipped remake of Jorge Michel Grau’s well-received 2010 horror flick, We Are What We Are, is a powerfully expressed, atmospheric gem. If only it didn’t flinch from time to time, seemingly unable to resist the temptation to make sure the audience “gets it.”

Its ambition is as small as its budget, but hell if the filmmaker, cast and crew don’t seem more than enthusiastic in serving up the entirely nutrition-less titillation.

Kendall wisely avoids imposing Western values on the proceedings. The details of life intrinsic to the country speak for themselves, and the film forms more a story that amounts to fascination with the journey of the singular camioneta.

Far from taking the comfortable approach as yet another cautionary sci-fi tale of technology run amok, Her isn’t interested in holding a dystopic mirror up to society. Jonze instead posits a wonderfully original alternative to Skynet and the Matrix—in the future, the first self-aware A.I. won’t destroy the world, but it may just break your heart.

For those with the patience, and for those who simply love the way a fascinatingly unique film can so fully convey and shape a point of view, Under the Skin will reward the time spent in the theater.

Singer threads the needle with such apparent effortlessness in stitching it all together, the seams are practically invisible. It may not be as showy as telekinesis or plasma-laser eyes, but it’s an uncanny gift nevertheless.

Ragnarok ain’t a home run, but it’s a solid double, and certainly enough to cause Hollywood scouts to raise an eyebrow.

The blood-slicked, vividly drawn film universe John Wick illustrates is such a generous slice of pulp that, even if not original, per se, it exudes a confidence rarely seen these days, surefire franchises be damned.

So, then, what makes it the “best” entry? The more severe Rings-tone that Jackson has been attempting to graft on top of the (mostly) whimsical original source makes the most sense here. Also—and at the risk of coming off as pedantic—it’s because, technically, it’s the shortest of the three.

The love story at the center of Spring is mysterious, funny and often poignant—a tough enough thing even to describe, let alone commit to film.

Fans of the director will doubtlessly find his latest overly familiar, while the Miike-uninitiated will be left scratching their heads as to how chocolate and peanut butter don’t quite make the whole confection more delicious.