The director succeeds in telling the story of his sister in an unfiltered, brutally honest, and respectful way. But the audience isn’t always there alongside them.

It’s well-structured, handsomely shot, and features some impressive acting. The thing is there’s just not that much to make it stand out from the crowd either.

This film barely gets a recommendation only because it finally gets interesting at the end.

It has its share of eye-rolling moments, but at its heart there's a decent story.

This updated version of Black Beauty is well-done and touches upon some important points about being connected to animals, nature, and learning to care for others.

It feels like The Other Me teases us Lynchian oddity but never goes all the way.

The only complaint is that the plot ultimately tries to take over the character drama with twists, turns and some rather pointed preachiness. But at least it's fiercely smart about it. And Algrant's final shot is gorgeous.

All in all, Avicii: True Stories is a both an inspiring and pretty harrowing ride.

It is just too bad that this film isn’t as snarky and groundbreaking as it would like you to think it is.

Please Chris Carter, bring us X-Files fans back to where we belong. If there is to be another movie, and there damn well better be, return us to our beloved mythology.

A silly comic book movie with provocative psychological overtones. Or a provocative character study with silly comic book overtones. Take your pick. Either way, it's hardly the cinematic milestone it's widely hailed as being.

A small, no-budget, seemingly unsophisticated film that creates a minor energy miracle by fueling its running time on pure raffish charm.

Roos creates a slate of interesting characters who find themselves in unexpected situations that lead to realistic--and in their own way, happy--endings.

With a stronger actress who could have been in greater command of the character, Freeze Me would have been a cold-hearted masterpiece rather than the okay thriller it turned out.

Rich with talent, this flick is missing that fundamental thing that sets one rom-com apart from the rest; a lasting feeling that what you’re watching matters, or means something.

Every hour that ticks by your stomach drops a little more as the outlook becomes more bleak.

While not as insightful as his previous work, Halston doesn’t blemish Tcheng’s resume either, providing a perfectly enjoyable – if inconsequential – portrait of a larger-than-life public figure. Fashionistas will surely gulp this up, while the rest of us may ultimately dismiss it as yet another glamorized, facile look into a glamorized, facile industry.

Drunk Bus, directed by Brandon Laganke and John Carlucci, is a deja-vu inducing coming-of-age story with enough character and good cheer to make you forgive how unadventurous it is.

About as exciting as meatloaf.

The best thing about The Slaughter Rule -- is that the film refuses to succumb to the temptation of a glorious Hollywood feel-good happy ending.

Nolte looks like a man with one foot in the grave and nothing to lose. He single-handedly rescues this caper flick from its own mediocre storyline.

A brilliant exploration into the implications of Freud’s theories on one family.

Pelted with tragicomic scenes, Thunder Road, an acceptably funny slice of drama, depicts anxious times by carrying a furious tone and bitter pathos. However, not everything shines here.

Doesn’t offer any huge revelations about life, the universe and everything, but it’s not meant to. It’s meant to be a fun kid’s movie, and it’s a must see for mothers and daughters.

Likely to exceed expectations.

Kitarô Kôsaka’s light-hearted and contagiously joyful film contains just enough beautiful imagery, positive messages of acceptance and touching moments to warrant a look.

Salvable fully embraces its bleakness, its title almost mocking; there’s no salvation here. If it had a bit more originality or verve, it could potentially have pulled it off.

Classic B-movie mayhem meets French New Wave.