Simi Horwitz

Weightless is a bleak slice-of-life movie that’s tightly focused and stylistically cohesive. The narrative is not without interest and the film’s atmospheric mood is effective. But ultimately its slow pacing (unremittingly so) grows tedious and the ending is a non-ending.

The contrast between young and old, life ending, life continuing, is leaned on too heavily.

Part One, subtitled For the Sake of Gold, is original and intriguing.

Part Two, Walk With Me Awhile, is overstated and adds nothing story-wise short a few snippets that could have been incorporated into its predecessor.

McCarthy has found the right creative partner in Heller, who treads unchartered territory with a character like Israel: unfashionable, unfamiliar and unappealing to most viewers.

The Kindergarten Teacher is a flawed movie, but it presents an onscreen character original enough to be worth knowing.

The performances in Beautiful Boy are superb, and overall this intense father-son drama, helmed by Belgian directorFelix Van Groeningen (The Broken Circle Breakdown), has the ring of authenticity.

The acting is not the problem. It rarely is. And, within parameters, the movie is not dull. Just don’t expect to feel much short of guilt in response to your own apathy.

Given the magnitude and complexity of the topic, an entertaining film is almost irrelevant, at moments trivializing. This particular story cries out to be viewed through a new, fresh lens. Otherwise, why are we hearing it? Why now?

The Bookshop is an exquisitely understated tragicomedy.

The Wife is an astute character study thanks in large part to Jane Anderson’s winning screenplay.

In the end, Skate Kitchen is a frustrating film that’s supposed to elicit a heady sense of freedom, girl power and a rush of sisterhood. It doesn’t. Instead, one is left feeling vaguely hollow.

In the end, the fine acting cannot salvage the uninspired material that fancies itself cutting-edge yet is paradoxically dated. Madeline’s Madeline might have been innovative in the mid-’60s, but its novelty has long expired.

Gavagai is a curiosity and nonetheless remarkable in its own way. Slow (very slow) paced, it’s a meditative, haunting and lyrical film that explores the many layers of love and grief.

a plodding film with ill-placed, klutzy exposition and credibility-defying and/or colorless characters that are spokespersons for various predictable viewpoints.