Sorrentino and cinematographer Daria D’Antonio color coordinate each and every frame to a fare-thee-well. Even scenes set in an Italian prison have real visual flair.

One thing that comes across so clearly in Finding Yingying is the ripple effect the disappearance of a loved one has on their family and friends. It’s a waking nightmare of uncertainty that stretches for years. A grief that’s always just on the surface waiting to unleash itself once again.

The Weekend Away is the best kind of purposely preposterous potboiler. The scenery is gorgeous, the twists keep the adrenaline pumping, and the performances are memorable. Even though you might not remember everything that happens, you’ll have a good time while it lasts.

As with most comedies that throw everything out there (and throw common sense out the window) to get laughs, some bits and pieces don’t land. But the Lesters thankfully cram in enough ghettofabulous gags to keep me continuously giggling.

Even without access to all that it references, I Wish I Knew functions as an admirable cinematic tone poem about a place and its times.

Flux Gourmet is an out-of-control movie about people who are constantly trying to gain some sort of control, either over each other or whatever they got going on inside of them.

The Nightmare is more effective than the esoteric "Room 237" because it represents a full immersion into a common human experience. The re-enactments are superb.

Linklater not only pays his respects to Godard but also shares that adoration for his craft with his own audience.

Stiller & Meara is a fascinating window into not only the history of this famous family but also the beautiful and punishing nature of performance itself.

Revisionist this may be, but it’s done with smarts and, sure ... perceptiveness and sensitivity.

A horror movie, a creepy and atmospheric and sometimes blood-soaked horror movie, and it’s got a good amount going for it.

It's a deeply empathetic film that displays an ability to balance the lyrical and the genuine while telling the story of a young man trying to figure himself out through two very different male role models in his life.

The film does not offer excuses for violence, and neither should we; instead, it prompts reflection on where compassion and control are needed and where the pursuit of them falters.

The visuals here are interesting because Adela is a circus clown and we get see a lot of the colorful life around her performances.

While the on-the-nose title suggests each individual is an isolated entity...the character construction and how their respective desires intersect with one another, in tandem with an effectively dizzying atmosphere, render it more original than expected.

What the movie is very good at revealing and expanding upon is how this reluctant actor became such a masterful one.

Misshapen parts and all, “Fortune Favors” fulfills its purpose as a joyfully eccentric tribute to personal authenticity.

It’s almost more like a companion to some of the most popular books of all time—not an explainer or even piece of historical trivia about their execution. Instead, this documentary reveals how even the most complex spy fiction can have a foundation in the relationship between a son and his father.

The kind of meandering apathy that Reichardt is going for in River of Grass can be tough to connect to as a viewer, and it’s interesting that her films became more resonant when they switched from what is kind of a comedy to drama.

Funan is structured as a series of carefully choreographed set pieces in which things go from bad to worse to unimaginably awful.

Black Box is a little wobbly in balancing its science-fiction logic and some wholesale horror thrills, but to the credit of debut director Osei-Kuffour Jr., both genre elements have their place.

You’ll be able to figure out where Run is headed pretty quickly, but that doesn’t detract from the precise thrills and campy fun along the way.

Can you recommend a horror movie based on its impressive meanness? Meet Nicolas Pesce’s new and improved take on The Grudge, which is often as nasty as you want it to be, its cheesy jump-scares and generic packaging be damned.

It is an entertaining, family-friendly romp with wish-fulfilling yeses, extended comic mayhem, and satisfying consequences.

Cézanne et Moi is at its most intoxicating whenever it looks and acts like a landscape painted by its title 19th-century French artist.

Genre fans ought to check it out post haste. I’m one myself, and my admiration for the superb conception and execution of the film goes hand in hand with disappointment and irritation.

Bride Hard makes it easy to grab your girls, some snacks (or drinks), and enjoy a little fluffy fun at the cinema.

Watching him regain his confidence, sense of self and the rebellious spirit that defined him gives "The Fake Case" an unexpected and exciting feeling of momentum and, eventually, tension.