Stephen Dalton

A twist-heavy crime thriller spiced with horror and noir elements, I See You is such a finely crafted exercise in slow-burn suspense that its loopy plot contortions only seem absurd in retrospect.

Rarely have so many classy ingredients added up to such a muted, muddled, multi-story mess. Of course, it is still better to make an ambitious failure than a boring success. A true disaster movie, in all senses, High-Rise is ultimately an ambitious, brilliant failure.

An ingenious micro-budget science-fiction nerve-jangler which takes place entirely at a suburban dinner party, Coherence is a testament to the power of smart ideas and strong ensemble acting over expensive visual pyrotechnics.

This very modern brand of post-Warholioan digital fame is a much-debated cultural phenomenon, and Wild Diamond adds nothing especially new or insightful to the discourse. That said, Reidinger does display a rare degree of empathy and understanding towards young women who pursue this kind of tabloid celebrity.

Not for the squeamish, Ovredal's chilly slab of body horror ultimately proves less than the sum of its forensically fileted parts.

Over the long haul, the Wolfe brother never quite provide enough psychological and emotional ballast to flesh out their complex, conflicted characters. But these are minor flaws in an otherwise confident, gripping, highly charged debut.

Constantine’s skills as a first-time dramatist are a serious weakness here. Though the subject matter is rich and the soundtrack terrific, character and plot take a back seat.

We are left with a powerful sense that her death was a tragic loss, both privately and publicly, but Can I Be Me never quite tells us why.

An inspired comic thriller.

Hawke is natural casting as Baker, sharing enough facial similarities to capture some of the late jazz icon's chiseled, hollow-cheeked, fallen-angel beauty. He gives an unshowy and vanity-free performance, all soft-spoken mischief and brittle arrogance, but laced with just enough blood, sweat and tears.

It is a superior genre piece at heart, but elevated by its high-caliber leads, Imogen Poots and Jesse Eisenberg, plus a script rich in political and cultural resonance.

Shot in precisely composed frames, with recurring visual motifs and an eye-pleasing color palette that accentuates blue hues, Tip Top is commendably ambitious in its Godardian attempts to deconstruct the police thriller format, but it's only partially successful.

The plot is diffuse and disjointed, but theater director Andrea Pallaoro’s feature debut scores highly with its exquisite beauty and fine performances.

Kinds of Kindness is lighter on jokes and visual brio than many of the director’s previous films, with an overlong runtime that weakens the twist-heavy tension and punchy rhythm of having three back-to-back stories. Despite a solid-gold cast and some deliciously bizarre fairy-tale plots, it still plays more like a fun personal stop-gap project than a major career step.

This schlocky horror picture show combines a zesty young cast with an infectious comic energy.

Even if it tells us nothing new, Pulp is still a handsome cinematic homage to a unique band, a proud city and the unifying power of pop music.

The splatter violence is fairly tame by modern gore standards, and the episodic narrative sags in places, but the ecological subtext and feminist folk-horror elements make this almost entirely female-driven road movie an agreeably fresh addition to the zombie canon.

Weekend of a Champion begins as a motorsports movie but ends up a portrait of two wily elder statesmen who have survived into their seventies by skill, stealth and sheer luck.

For all its limited ambitions, The Ones Below serves its purpose as a solid calling card for Farr's filmmaking future, a gripping exercise in domestic suspense that sets out its stall on the shoulders of giants.

Wheatley's riotous Looney Tunes action comedy is a sporadically amusing assault on the senses, but it looks like it was more fun to make than to watch.

Omirbaev fails to invest either the murder plot or its political subtext with much suspense or conviction.

Sheikh Jackson is a little too somber and straight-faced for its goofy premise, its protagonists often unsympathetic, its tone sometimes corny and melodramatic. But it is also an offbeat charmer that boldly sets up its bizarre conceit and runs with it.

In its favor, Amanda boasts subtle, sensitive lead performances from Lacoste and Multrier, who has a rare easy naturalism for such a young performer.

Though heavy-handed in places, The Mafia Only Kills in Summer is a generally charming and engrossing debut feature.

Köln 75 is an enjoyably off-beat blend of biopic, historical pageant and music-geek lecture from US writer-director Ido Fluk.

It will not teach you very much about either autism or Metallica, but you will leave the theater smiling.

Ultimately little more than an extended commercial for his new album. That said, it is an effortless pleasure to watch

On many levels, Evolution is a dazzling high-wire act.