Tomris Laffly

It fails to rise above certain clichés, dulled further by stiff performances and a clumsy handle on the movie’s interwoven time periods.

In writer/director Chad Faust’s Girl — a wobbly and desperately unimaginative mesh-up of contemporary noir and a Southern-fried tale of ancestral trouble — Thorne continues to broaden her range, serving up a quiet performance of emotional burden and impressive physicality.

This is a film that chooses to keep things crisp and feather-light. And there is nothing wrong with the movie equivalent of a modestly happy floral cologne you’d splash on for a little daytime pick-me-up.

Ideologically scheming and visually inelegant, this is truly tacky stuff.

This ambiguously humorous film with a shaky pace and viewpoint sets forth a tough proposition: will you be patient for its 80+ minutes of running time, accept that nothing much will actually happen throughout that duration and settle for occasional jolts of rewards only?

The film unfortunately anchors itself in an exploitative mode, insincerely using terminal illness as inspirational fodder.

Happy Clothes gives us an intriguing snapshot of a creative force who can mix patterns and colors more fearlessly than anyone in the business. But it ultimately leaves us craving move.

You want to be moved by this seemingly conservation-minded affair, but Autumn and the Black Jaguar sadly turns into a cringe-inducing experience fast in a number of ways, undermining the intelligence and taste level of its young audience in the process.

What One of Those Days When Hemme Dies lacks in budgetary means, it often makes up through the sharp intentions of Fıratoğlu, a thoughtful filmmaker we will hear from again on the international festival circuit.

For Worse might be a tiny step among its kind, but it still feels like a leap for its thoughtful auteur, ultimately celebrating new beginnings as an ageless milestone.