There are no violent clashes or extraneous drama about boys. Instead, it's a simple and tender portrait of how friendships aren't always forever.

Paul Dano’s directorial debut is a visually stunning living portrait of a midcentury marriage falling apart at a time when that was sort of unthinkable, or so we think.

Grant punctuates almost every piece of Hock’s dialogue with an absurd gesture or facial expression – the theatricality of his portrayal of this not-so-street-smart bullshit artist is fascinating.

Suspiria is not a movie that will gel with everyone. It will awaken the sickest, most twisted parts of your mind if you allow it.

The first 30 minutes of this film feel like a fever dream, as Hannaford and his entourage trade barbs while the film stock (and subjects) change like a child’s kaleidoscope. It is frenetic and a bit unsettling. But once the party settles in at the director’s estate, it becomes mildly coherent.

On Her Shoulders offers some limited insights into the politics of international refugees, but the film keeps its focus on a woman of humble origins who willingly takes on the pain of millions.

The film is as bland as Melba toast served on a bed of parsley while snatching sips of water from a nearby puddle following a rainstorm (that actually, in retrospect, could have some flavor). It is the very antithesis of creative destruction.

Cue ultraviolence, gang stereotypes, and a bucketload of plots that never really go anywhere.

Bogdanovich narrates the most extraordinary moments of close-up slapstick and derring-do with equal fascination. But mostly what he does is let them play out with the occasional factoid, so the audience can appreciate just how impeccable Keaton's work was.

So yes, Bodied is a comedy of ill manners, fraught as it is with a veritable encyclopedia of contemporaneous qualms confronted and contested with some seriously dope hustle and flow. Tag this one #badassseriousfun.

It's a fascinating story told by the rote conventions of the musical biopic.

Here Hill makes his debut as a filmmaker while trying to prove himself as the voice for an entire generation. And there are even times where Hill succeeds, navigating his own missteps as a first-time filmmaker to create a promising – albeit unsatisfactory  –  story of adolescent millennial angst.

The result is a cheerfully unfunny low-brow affair which simply can’t compare with the many genuinely entertaining James Bond spoofs that seem to crop up every decade or so, such as "Austin Powers: International Man of Mystery or the more sublime pleasures of Jean Dujardin in the "French OSS 117: Cairo, Nest of Spies."

A surprisingly fun throwback to Cold War thrillers.

There are scenes during which Everett’s Wilde commands our wide-eyed attention, still mesmerizing despite his physical and psychological decline. Yet in between those quickened moments, The Happy Prince trudges forward with monotonous uniformity.

Most important, there are the photographs themselves – lots of them – which director Freyer freely uses to illustrate Winogrand’s genius in capturing the ambiguous now, urging the viewer to fill in the details of the story glimpsed in the shot.

Border is a Venn diagram of a film: sometimes darkly comedic, sometimes wild honey sweet, sometimes a stomach-churning crime drama, with aspects of both Scandinavian mythology and contemporary queer cinema.

That may be Beautiful Boy's biggest problem: That it's too emotional.

It’s a tantalizing offer that’s stuffed with celebrity, scandal, hedonism, and riches and all the sex, drugs, and disco that money could buy.

For a first-time director like Barinholtz, The Oath is more than impressive. Tonally, it goes all over the place, but that only serves to keep the audience as off-balance as the characters onscreen. No matter what your political affiliation may be, this Orwellian farce is a candidate for President Trump’s least favorite film of the year.

Without ever feeling stagy or theatrical, The Guilty is an exquisite reminder that all you need is four walls and a great performance.

At its heart, Luff Linn is a very sweet love story between Colin and Lulu, punctuated by absurdity and a specific type of humor that (as I’ve referenced before) brings to the screen the spirit of the work of famed graphic novelist Daniel Clowes.

You know Westerns are in the middle of a comeback when even low-budget filmmakers are trying their hand at the genre. Big Kill, the latest such film, may not operate on the same level as a movie like "The Sisters Brothers," but there’s certainly a bit of charm in watching a filmmaker play it straight with a few of our favorite Nineties stars.

With original director John Carpenter's blessing, Green manages something that is both a tribute to and an evolution of the 1978 classic, with moments designed to create resonances that are not just re-enactment but part of his bigger theme of trauma-causing scars (there are also, in a nod to his days as an Austin resident, a couple of subtle visual nods to the original The Texas Chain Saw Massacre).

The numerous characters presented in the film probably dilute its overall dramatic power.

Thunder Road has received oodles of festival awards, including the Grand Jury Award at SXSW. The film is a singular work. Even though it doesn’t always live up to the promise of its opening sequence, Thunder Road is an exhilarating ride.

Shula never confirms or denies being a witch, making the title of the film a strange choice, though that affirmative defense through history has largely fallen on deaf ears and too many women have died to prove it. In short, it wouldn’t have mattered anyway.

Goosebumps 2: Haunted Halloween knows what its target demographic wants but also resonates with adult audiences, thanks to the zippy plot and across-the-board excellent performances from the totally game cast.