William Goss

Forever doesn't deviate terribly from the can-we-be-friends-after-sex playbook, but it rarely opts for hysterics or contrivance to push our leads along, so long as you can swallow the amicability with which they initially divorce.

Good luck finding a modern martial-arts epic that can even hold a candle to it.

Among the stronger American horror films of the year.

Fans of Birbiglia should be easily entertained, and with a little luck, it will only earn this particular loveable neurotic a few more of those.

In a film about how hard it is to know what you want, and then to express it, Swanberg gets to the heart of the matters of the heart with disarming doses of both charm and wisdom.

What really sells both the fashionable remove and generational paralysis is the pairing of Elliott and McNulty, as they effortlessly establish a passive-aggressive relationship from the get-go that thrives in a constant state of reliably unreliable codependence.

Rarely a moment is ever wasted, a consequence ignored, and though the climax is a corker, the final shot is even better. Prisoners requires and rewards your attention in equal measure. Be ready.

A superb tearjerker in between beautiful bluegrass ballads.

Faults is a strangely funny, often eerie accomplishment, and it’s a testament to why people like us tend to call first features like this “promising.”

Wan has marshaled his crack sense of supernatural menace into making his most satisfying scare story yet.

Europa Report doesn’t entirely sell out to convention by the end, but the steps it takes to reach its noble conclusion reflect a lack of imagination and invention, especially for a film that initially seems to champion such qualities.

Faxon and Rush’s screenplay doesn’t deviate too far from formula, but their sturdy direction, bolstered by handsome production values, evokes a wistful sense of carefree summers and conjures up a potent amount of simmering teenage angst beneath the frequent chuckles.

If the Favreau-written “Swingers” concerned itself with the pursuit of meaningful romance and the Favreau-directed “Made” tackled the pursuit of a better living, then the slight if continually amusing Chef is clearly his paean to rekindling one’s passions, whether as an artist, a husband or a father.

Occupies an odd middle ground between their Apatow-produced bromances, the giddy gruesomeness of the recent “Aftershock” and the confined social abrasiveness of “It’s a Disaster.”

A funny, sly directorial debut

The most frightening thing about the franchise at this point is that it just keeps on going, undaunted by the characteristics by which the first film made its name. Family is still family and a brand is still a brand, but the blade… well, it’s only grown dull.

A masterfully queasy blend of dark humor and darker humanity.

A noir-tinged, noose-tightening ordeal [that] confirms Antonio Campos, if not the entire Borderline Films outfit, as a filmmaker/team to be reckoned with.

An efficient and effectively exciting globe-spanning zombie thriller.

Downey, Jr. remains a rightfully cherished smartass figure, having as much a ball with Black’s one-liners as he had in “KKBB,” and he sells Tony’s newfound post-traumatic vulnerability more credibly than the film does.

Wish You Were Here goes to a dramatically gripping place of guilt and doubt; if only its grip had held just a bit tighter.

Much like Brandy, “List” tries and tries and tries to get the job done, but frankly, the satisfaction only ever comes in spurts.

Subtlety is hardly at home here, with Quaid’s especially earnest performance a well-suited mask for Henry’s desperation that nonetheless amplifies the phoniness of the entire enterprise.

Frankly, Elysium is a bit of a liberal’s wet dream: the good guys want accessible healthcare, while the bad guys want to do away with undocumented immigrants.

Ultimately seems at war with itself, torn between its duties as an entertaining, engaging movie and a somber, sincere memorial, and in splitting the difference, the film effectively assaults its audience almost as aggressively as its subjects.

Park allows this macabre coming-of-age tale to be defined by mood and style above all else.

Each scene is a brisk vignette of deadpan reversal, often involving a running theme of miscommunication.

Moore’s movie may not seem to make much sense...but he does set up bits at the beginning that do come to pay off in ridiculous ways, and cinematographer Lucas Lee Graham pulls off the commendable feat of shooting the film with some margin of legitimate composition in spite of the crew’s apparent guerrilla antics.