Few are willing to publicly confess their hunger or undernourishment or place it on display. And the problem is kept hidden as long as charitable food banks and soup kitchens continue to disguise the depth of the hunger. A Place at the Table confronts the issue head-on and offers some solutions.

Innocence is possessed of a highly literate, almost classical story.

The hypocrisy, sexual repression, and backwater snobbery here is enough to make Peyton Place look like Vatican City.

The Homesman gives us a West devoid of gunslingers and heroes and hearth vs. hunt dynamics, and instead shows us people trying to get through their days alive and sane.

At the same time, there's something a little tired and rote about a coming-out drama set against the world of dance. In the wake of Francis Lee's "God's Own Country," which found fresh fields for this subgenre in the sheep farms of England, this latest trip to the dance studio never feels like it's truly forging its own path.

With Henry Fool, however, Hartley has made his most dynamic and accomplished film to date.

It's a disturbing film on many, many levels, but beautifully shot (by Seamus McGarvey) and shot through with a horrific sense of false hope. The kid is not all right.

Clever, dynamic, and full of little touches of world-building that will drive science-fiction fans wild, Prospect is destined to land on every list of underrated genre films for years to come, long after it has ceased being any semblance of underrated. Stay one step ahead of the curve and see it.

The Thunderbolts may not be the Avengers, but they’re the heroes we need now.

A moving tribute to this legendary artist's life and career.

Early Man is wanting: of a cleverer narrative, of memorable characters. It’s not bad, necessarily. It just feels like an early draft of a better movie to come.

The film looks good (nod to cinematographer Roman Vasyanov). The images are sharp even when the film’s ideas are not.

Director Scott Glosserman began his film as a found footage mockumentary before flipping into a conventional slasher for the final act as a deliberate, subversive plot point. Nash keeps his deliberate pacing to emphasize the grisliness.

Visually, Batman Returns is marvelous to behold. There are images on that screen that make you laugh with delight and admiration for the sheer imaginativeness of it. But Burton also brings up some really interesting themes only to lose interest somewhere along the way.

Equal parts Ray Bradbury and rickety carnival spook show, this animated tale of a carnivorous, haunted house and the band of neighborhood kids who decide to put it out of commission feels maddeningly unfinished.

By necessity, Black Mass begins in a hole it can never dig out of. It’s the portrait of a monster told in a flat line.

Sticking it to the man, German-style.

A very funny and well-acted comedy about the slings and arrows of outrageous adolescence.

Although the movie's anti-war propaganda mission is clear, it nevertheless makes a strong case for asking questions and examining our country's imperialistic motives.

Lemarquis, as Noi, has a stoic and silent tenderness to him, and Hansdottir's Iris is the picture of pensive sluggishness. But then all that cold, cold snow slows you down, both inside and out, until the only thing moving is your heart.

The film seems overlong and drawn out, with variations on the same joke occurring throughout. Although the performances are good, the nostalgia for the past seems quaint in the new "have it your way" Burger King world.

Overall, it’s a satisfying wintry treat, as only Quentin Tarantino can do it.

A tedious mix of Reno 9-1-1 awkward humor and the queasy provocation in Tim and Eric's Awesome Show, Great Job!, it felt like Dupieux was trying too hard, and Deerskin feels like the injection of the leather obsession just never quite meshes with the rest of the story.

There’s a profound mournfulness to this elegiac portrait of the end of an era, given greater poignancy by Jones’ understated performance.

For those of you who had your brain bent in real time by the ultimate superstar outsider of Eighties comedy, there’s still enough new here to make retreading his familiar career worthwhile.

The film's moody, dark palette and soft, inchoate backgrounds tend to lull the senses rather than actively engage the viewer. The magic practiced by this illusionist does not extend to the screen.

The storyline is something of a hodge-podge but what the narrative lacks in honing and straight-ahead storytelling it more than makes up for with well-aimed barbs and acutely focused observations...this funny, funny satire gets us where we live.

The film's ideas are provocative, yet vague and unfully formed. It's much like Pulse itself, which is a bit too long, despite several great sequences.