The performances in the film are soul-saving.

One of the best movies of the year, and a great accomplishment for Messrs. Harmon and Schrab. Maybe now we’ll get a feature length "Robot Bastard" movie.

Smoothly seductive.

That’s it! I’ve had it! I’m packin’ up my shit and I’m movin’ to a trailer park down in…down south…somewhere. Apparently, there’s a lot more interesting people in these places than one could ever imagine meeting in their Starbucks bruised metropolitan areas or crosswalk guarded suburbs.

The one thing that keeps this movie from being an instant classic is its tendency towards childishly goofy humor. I guess it all depends on how you like your funny.

Relies heavily on strong performances from Brühl and Sass to make the illusion believable.

Performances are spot-on from the entire cast; each memorable character is finely detailed and full of eccentricities that are beautifully underplayed.

The result is a mature, graceful and extraordinary accomplishment.

The film begs for more action, thrills, and jokes, or more dramatic and painful revelations. What we get is an in-between mash of romantic ideals, a botched kidnapping, and some very good time wasted.

The Marriage shows us this problematic side of love with no judgment, which is incredibly refreshing.

On the pages of the script, it could come across as forced, but thanks to good direction, editing, and the performances by Robert and Fortas this love story works.

At barely over an hour, Deerskin packs quite a punch, and is bound to get under your skin.

Own The Room is fun, hopeful, and inspiring to any future entrepreneur and a must-watch.

Neither Confirm Nor Deny plays like a Tom Clancy thriller and opens a little-known door in American history.

New Life entertains with fast-moving shooting action, creepy screaming creatures, ample guts, and moments of profound humanity.

Gustafson gets great performances from her leads, yet the main storyline is not given a succinct resolution.

Yeo Siew Hua shows that surveillance isn’t only about control—it’s also about how we see ourselves through someone else’s eyes. In the end, the film leaves us unsettled with the idea that being watched doesn’t just change how we act, it changes who we become.

This is pure cinematic meditation, requiring a surrender to its languid tempo and hallucinatory vibes.

While it might have made a good short, as a feature film The Illusionist comes across like a magician whose tricks are transparent.

For the most part, the film is brilliant.

A horror film that scares you to insomnia is good in the sense that it succeeds in what it sets out to do.

Homeroom is a fantastic piece of documentary storytelling

Few seasoned filmmakers can boast the lightness of touch, the comedic timing, and proficiency with an ensemble cast that the 21-year-old Lindon so nonchalantly possesses. The film would’ve been a treat if it were made by an established auteur; the fact that a complete newcomer concocted the entire thing makes it even more impressive.

While never sacrificing any of the hard-knock authenticity and specificity of his characters and their milieu, Brewer has crafted a deeply felt film.

Takes an unexpected turn towards originality where every other "David vs. Goliath-courtroom drama" only strives.

Eastwood once again takes a sharp stab at America’s penchant for attacking first, asking questions later.

Makes one interested in seeing the inevitable sequel, but one is also left to somewhat question the worth of sitting through this first installment.

The film has many great moments, but dare I say, it’s not melodramatic enough. To understand the magnitude of the miracle on ice, you had to live it, breathe it, and feel it.