Cech is the heart of the film and coupled with her chemistry with Perlman, Marvelous and the Black Hole emerges as a sweet coming of age tale, worthy of experiencing, even if you feel like you’ve seen it all before.

The story twists and struggles keep engaging through, whether you know the outcome or not.

A compelling screenplay, to be certain. But sadly, Omarova's direction is too leisurely to wring any emotional power.

A well-designed vehicle for the director's long-time star, Isabelle Huppert, whose focused portrayal makes this film a well-honed character study.

Like a moving cubist painting, Where is Where? is created to confuse, and yet inspire. With the combination of silent stock footage, and sparse theatrical settings the film may seem very long to some, even if it is only an hour. Making it to the end, however, is very rewarding if you are willing to put in the effort.

It’s a thoroughly intense and mostly entertaining movie.

Nadja succeeds most when embracing its lineage, those visual echoes of Universal and Hammer Studios, with the visual weight borrowed from European art horror, yet falters when maintaining cool distance from material that demands a stronger commitment

Emily Blunt’s Victoria and Rupert Friend’s Albert come across like museum mannequins – utterly devoid of any genuine passion.

It is compellingly enervating and a marvel in the filmmaking process.

The comedy and drama balance each other well, while the varying styles create a wholly unique work of art that perfectly captures the uncertainty of the beginnings of quarantine.

Bonilla has directing chops, but she needs to refine them. She does show real potential and is a director to watch as her career proceeds.

Humorous yet subtle characters aid Malkovich in creating a film that is engaging and entertaining, while at the same time lumbering during long stretches.

It's quite difficult to find a character we can remotely identity with. This is frustrating because the film is so profoundly well written, acted and filmed.

Well-crafted and, in places, highly informative, but with the exception of some of the original film's hardcore sex scenes and the aforementioned Mob angle, there's little we haven't been exposed to before.

My favorite horror offering of the year so far. It’s smart, uncompromising, inventive and just downright hilarious.

For telling America to acknowledge how far the country has deviated from its values and how painfully it has failed to make the world safer, this is the most important movie of the year.

Everett looks at home in this role and breathes new life into Wilde. The Happy Prince proves that Rupert Everett was born to tell the tumultuous story of a kindred spirit. Oscar Wilde would be proud.

The entirety of Give Me Pity! is more of an artistic treatise, a museum piece, a series of single-woman monologues, than a coherent, you know, film, and that’s clearly the intention. One can do a lot worse than take a look inside Kramer’s head, and this one makes her other explorations of humanity, Please Baby Please and Ladyworld, seem positively conventional. Quite the feat.

It is a rock-solid entertainment, made by adults, starring adults, and intended for adults.

Guardians of the Galaxy: Volume 3 has way too much story crammed in its two-and-half-hour runtime, but the reason to see the movie is the Guardians themselves and how they’ve grown and evolved since they were first introduced.

Skywalkers: A Love Story is riveting and engrossing. The cinematography is beautiful, capturing the wonder and danger of being so high. The editing is sublime.

The First Step works because it’s as honest about the state of government as it is passionate about doing so.

It's funnier than "Wild Hogs," which is about as ringing an endorsement as I'm capable of these days.

It is a refreshingly traditional star-driven thriller.

As twists start to pile on, I Am Mother shifts from eerie to tedious, but there’s too much on display to outright dismiss.

Let's be honest; a great deal of the sh-- you find funny when you're high really isn't (as anyone who's smoked a few bowls and laughed like a hyena to "Assy McGee" can attest). So hopefully nobody will be too disappointed when I tell them that "Express" is largely hit and miss.

If you are interested in the history of cinema, this is a very unique lens to look at it through.

All of the performances are at least solid, and for an indie, the production value is impressive. It won’t reduce you to a weeping mess, but at 78 minutes it’s a trim, satisfying drama that does justice to its inspirations.