Despite featuring emotionally static characters who undergo no personal development and having the structure of basic robbery-and-chase setup, Bullet Head is the kind of action film that throws mindlessness to the dogs.

Thelma is a beautiful and heartbreaking film that is an impressive addition to the coming-of-age story. A lady bird, indeed.

A courtroom drama with a twist, this second feature from "Nightcrawler" writer/director Dan Gilroy features one of the best performances of Washington’s career.

Keating’s no-rules narrative, and amped-up, super-stylized visuals are intoxicating and disturbing, as each killer gets their own captivating moment in the spotlight.

While it is more of a kids’ story, Anita Doron’s screenplay contains layers and subtleties that adults are sure to appreciate.

He even slips in a moment that will make fans of his transgressive masterpiece "Ichi the Killer" squeal with nauseated delight.

This film is a pleasurable experience, but it’s a frustrating one as well. There’s a nagging feeling we should expect something more from this guy. To borrow the most quotable line of dialogue from "The Room" (bellowed at the top of the lungs): “YOU ARE TEARING ME APART, FRANCO!”

A well-chosen collection of friends and former lovers provides reminiscences that flesh out Chavela’s challenging personality. However, the documentary provides scant information about the challenges Chavela faced in her career.

I tried to imagine what it would be like watching this movie if I were unfamiliar with the source material. The story may be a bit strange, but certainly no less touching. That’s the thing about classics: Each reiteration, if done properly, puts us closer to the story at heart.

Coco is animatedly empowering entertainment for anyone who’s ever had to go against the wishes of their family to achieve their most heartfelt dreams.

However commanding and absorbing Three Billboards may be, the film is diminished by its neatness and unconvincing resolutions to the many dilemmas it puts into play.

The film is being marketed to kids and their parents, and as such, it’s well worth mom and dad’s hard-earned sawbuck for the implicit lessons it stresses. Be kind, especially to the seemingly strange ones who might not look like you.

Director Margaret Betts’ superb debut feature arrives in theatres at perhaps just the right moment.

My Friend Dahmer becomes one of the year’s most chilling true-life dramas.

Stops along the way at a cell phone store and with the mother of a buddy killed in Vietnam (Tyson) provide opportunities for humor, poignancy, and reckonings with the useful lies told during wartime.

Busy and boring and oppressively computer generated, Justice League screams we’re back to business as usual.

The supernatural elements brush up against some heavy topics, some actual real-life horrors, but like any encounter with a ghost, Angelica is likely to simply leave you cold.

The film wears its ambitions on its sleeve as it daisy chains from lover to lover, intently focused on maintaining the rhythm of its segues from vignette to vignette to the detriment of any profound insight into its linked characters’ mostly unhappy love lives.

While there’s some type of metaphor wrapped around a donkey that lives on the farm – Jack mumbles something about Puck during a drunken bro-hang – there’s nothing so whimsical about this story.

In her first solo writing and directing effort, the hard-working indie film actress Greta Gerwig proves that she is her own muse. She takes the well-worn coming-of-age-dramedy format and fashions something fresh, funny, and artful from its familiar tropes. Also delivering the goods is a knockout cast of accomplished veterans and relative newcomers.

Stylistically, co-directors McLeary and Aldous were given complete access to the retreat and wield their cameras like voyeuristic lanterns in a tremendously dark place.

As overindulgent as it is, The Square is a darkly humorous and horrific mirror to our culture.

Turning Poirot into an action figure with a gun is simply heresy.

With all the violence in the world lately, it seems perverse to insert so much male aggression into what is supposed to be a fun holiday movie. When Roger (Cena) roars onto the scene in his very large truck, it’s testosterone overload.

Despite the notable camp value of Blanchett channeling Gloria Swanson, Cruella de Vil, and an extraterrestrial succulent plant, the doomy villain thing is rote.

Wonderstruck’s portrayal of deaf experiences and its adult treatment of childhood mysteries are original, and the way Haynes weaves it all together with gossamer strands gives this movie wings.

This is the hot-button topic of the moment and audiences will be divided, but there can be no denying the gut-punch power of Andrews’ directorial debut.

No wonder the movie feels something like a retread: It gets you there, but the ride is neither nowhere as smooth, nor nearly as compelling.