Julia Jackman‘s beguiling feminist fairytale “100 Nights of Hero” is an enchanting tribute to the power of storytelling.

There is a warmth to this film, an easy charm, that comes from a script aware of the genre conventions with which it’s experimenting and from a cast willing to jump headfirst into whatever surrealism is required.

Make it through the first 10 minutes. It’s just the film warming up. The rest of it flows.

Knock Down the House prevails with albeit straight-forward intentions: to amplify the women who are both mad as hell and doing something about it.

In 1966, film critic Pauline Kael reviewed "Funny Girl," announcing: "Barbra Streisand arrives on the screen, in 'Funny Girl', when the movies are in desperate need of her." She could have been talking about Jessica Williams.

Witching and Bitching is accordingly overlong, and conceptually thin. But like most of de la Iglesia's films, it's also freakishly energetic, and often hysterical.

Professor Marston and the Wonder Women aims to shake you up, make you think and maybe even squirm a little. Make that a lot. This movie is sexy as hell, featuring several scenes of steamy three-ways and kinky S&M games.

Crater might be too dark on a thematic level for some tweens, but the light it brings into the genre makes Alvarez’s film a soul-stirring escapade, one that introduces young audiences to ways to reform the fractured world they call home.

Green continues to establish herself as an insightful chronicler of the minor yet devastating terrors of violent masculinity that many women endure everywhere they go.

Raiff offers some impressive tonal mixtures and narrative surprises along the way, and even though his third act sags a bit, the performances—particularly from an achingly melancholy Dakota Johnson— remain compelling until the end.

What makes Meeting Gorbachev most interesting is the way we see Herzog shape the narrative through his questions, narration, and filmmaking skills.

Bathed in darkness and warm tones, “The New Boy” feels like a classic melodrama with modern sensibilities.

Marvel movies are not concerned with altering your precious bodily fluids. This one is a slightly better than average example of the species. Watch it in good health.

This is a hypnotic, invigorating film, and a step up for the duo—much like the diamonds that shimmer so seductively through their frames, it has a cold, bright, gem-like brilliance.

Shortcomings is a wickedly funny, absorbing character study and solo feature directorial debut by actor Randall Park (“Fresh off the Boat”). In the hands of Park, Adrian Tomine's graphic novel (adapted here by Tomine) finds cutting new dimensions in the miserabilism of an unabashed assh*le.

CIVIL won’t change any minds about its subject, but it does a good job of delivering “fly on the wall” observations of the year it covers.

It's Glass who gives Visitors something like a structure, alternating between long, contemplative stretches and moments of ecstatic grandeur, like the crowd of sports fans who erupt in (extreme slow-motion) joy at some victory.

In Secret is a costume drama with a gigantic accent on the drama. It's my kind of crazy, and I was quite entertained. To borrow again from Shakespeare, "'Tis Madness, but there's method to't."

The Surrender accomplishes a lot with a sketch-sized story and matching compositional agility and precision. It’s short (less than 90 minutes!) and sweet and the best kind of upsetting.

It's not just a story of an incredible feat of survival. It's also a love story, presented with the subtlety of a sledgehammer.

The weddings themselves are a hoot, shrewdly observed, witty, but genuine.

Its ending leaves the door open for interpretation and post-viewing discussion — just as the best sort of movie-going experiences often do.

Like a lot of films of this breed, Don’t Breathe gets a little less interesting as it proceeds to its inevitable conclusion, replacing tension with shock value, but it works so well up to that point that your heart will likely be beating too fast to care.

The filmmaker does a phenomenal job of setting up this world in a natural-seeming way, smuggling mountains of pertinent fact into conversations that pretend to be banal.

Loushy is resourceful, particularly as an editor, and the talking heads, even those not as internationally famous as the compassionate, articulate, and still-distressed Oz, are spectacularly compelling.

The film's main goal is to make us laugh and pull the rug out out from under us. But while there's a bit of pathos here and there, the movie doesn't add up to much in the end.

This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man" — not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of.

Gariépy reveals very little about her character’s state of mind in these moments, and this ambiguity is what makes “Red Rooms” so intriguing.