Tirdad Derakhshani

Partridge portrays David with immaculate timing and meticulous attention to detail. We feel for the character's pain, but never quite trust him.

It would better to call it Two Actors in Search of a Story.

For all its grand promises, Ip Man 3 teeters uneasily among B-movie clichés.

It's grown-up, deadly serious, and free of the ham-handed romantic subplots that mire so many films from the region in ick stew.

A small, intimate micro-budget effort, Altered Minds boasts terrific production values, pitch-perfect performances, and an eerie soundscape of found noises that evoke the feel of a surreal nightmare.

It's refreshing to see an actor tell his own story with some real honesty. Overall, however, Tab Hunter Confidential is too much like every other Hollywood True Story out there.

Amid all the horror and the black ooze, there emerges a deeply touching story about the power of love.

Despite its terrific performances and its great use of locations, Shelter doesn't have enough substance to hold your attention or linger in the mind for long.

Despite its visual beauty and Rahim's extraordinary, and silent, performance, the film never quite manages to connect on an emotional level.

While its message is a little simplistic, Knock Knock is shot through with a brilliant, gleefully anarchic dark humor that's equally fun and disturbing.

Velásquez is a remarkable individual, and her message should not go unheeded.

Overall, the effect is closer to a Monty Python skit or a Village People music vid than a serious film about civil rights.

Exceptionally graceful and accomplished, Ozon's film challenges our received notions of normalcy, intimacy, and love.

Wolf Totem has some of the most exciting, mind-blowing scenes of nature I've ever seen.

Phase II has some nice comic touches, but it's a forgettable B-movie.

Unsullied was made by a director with real promise. It's a shame Rice picked this turkey to shoot as his first

The intention is clear: Garneau wants to make his points as persuasive and accessible as possible. Yet, the truths That Sugar Film contains were already obvious decades ago. It's sad that we need reminding.

The chemistry between Smulders and Bean is simply terrific. Their performances almost save the film from its earnest, if bumbling, attempts to make a statement about the social, economic, and racial differences that divide the two characters.

A stunning examination of teenage cruelty, exploitation, and crime that refuses to give us the satisfaction of identifying with the characters.

Williams does a terrific job portraying Nolan's ambivalence, the mix of fear, guilt, and excitement that grips him and the gradual change he undergoes in the ensuing weeks.

While it has considerable charms, Hippocrates is just too predictable.

Aloupis is not untalented as writer or helmer. But his first outing is an unsurprising, paint-by-the-numbers picture.

A breathtaking, disturbing look at urban angst and the emptiness of youth culture.

Winterbottom's films never bore. They do sometimes frustrate, provoke - even anger. That's the case with his entry in the true-story genre, The Face of an Angel.

Funny, wry, tragic, and deeply moving.

Messy and confused, the film is a mishmash of tropes from Shakespeare, heist movies, family melodrama, and romance novels hastily thrown together.

A schmaltzy, deeply sentimentalized drama about American slavery and the rise of the Underground Railroad.

One of the most insightful films about the War on Terror since 9/11.