Stevens slowly and subtly unpacks that heady, provocative conceit with care and in a way that makes his directorial debut feel like the arrival of a major new talent.

Black and Blue is a B-movie through and through — and that’s actually a compliment.

A lovely companion piece to the latest album from the legendary musician, a gorgeous, introspective journey into the very concept of the American conscience.

For fans of Neil Young and Crazy Horse, Mountaintop is pretty much a must-see—it gives them a chance to see their heroes at work in a raw and unfiltered manner, and the fact that the Colorado album is Young’s strongest collection of new songs since Psychedelic Pill is certainly a sweetener to the deal. Those who cannot stand their sound, on the other hand, are not likely to be won over.

God is destined to forever be a complicated subject for most mortals, yet there’s no question this film has made me a believer in the boundless artistic potential of its creator.

Sure, I was never bored, but this movie makes zero sense, and contains some shockingly bad filmmaking, acting, writing ... pretty much everything. It is remarkably grisly and violent, containing a body count that tops the double digits, and almost all of the victims of its quality kills see their insides before they die.

It is lively, fast paced, charming and funny, and it showcases an especially delightful comic performance from Belgian and French cinema stalwart Olivier Gourmet.

The end of Eli subverts the majority of Eli, making it kind of like a cheap game. It’s not as damaging as the ridiculous final scene of “Fractured,” but I was left with a similar bad taste in my mouth.

While this is a true story, Ozon goes the fictional movie route, taking a bit of dramatic license while keeping most of the actual details intact. The director impressively juggles the large scope of his script while maintaining the sense of intimacy for his male actors that he normally reserves for his female characters.

Armie Hammer’s Will is definitely hollow at the core. Like a lot of protagonists of horror films, it is his overall weakness as a human being that makes him so vulnerable to the nightmare that unfolds in his life.

Their tangible shared pain quickly turns an awkward performativeness into a most genuine therapy session, one that is both disarming and uplifting to observe.

A world in which the stunning nature docs of shows like “Planet Earth” and “Our Planet” exists is going to make projects like The Elephant Queen harder to stand out in comparison, but I highly recommend at least watching the final half-hour in theaters or on Apple TV. It’s some of the most powerful nature footage in years.

The golf cart scene is an excellent example of what Greener Grass is attacking, and it's a sharp and subversive critique: it would be great to live in a more civil world, but too much civility leads to golf carts stalled at a four-way intersection.

In a sea of so much tragedy, it’s a marvel to stop and consider each individual’s experience fighting the tide.

Zombieland: Double Tap is more of the same, but also much less. The cast is larger, the carnage is gnarlier and the comedy is even more meta than before. But while individual moments and action sequences might be amusing, the endeavor as a whole feels like a tepid retread.

The result is a disappointment that's more crushing than an outright bad movie would be. The original, despite its flaws, had moments of primal power and deep understanding of what drives people, qualities that are mostly lacking here.

A spectacularly disjointed comedy that’s only superficially about two foul-mouthed, but well-meaning dopes who light and pass the proverbial torch to the next generation of slackers. “Reboot” is more of an ego trip for Smith, an amiable, creatively frustrated pop artist who survived a major health crisis — one that even he knows he can’t shut up about.

Though its generic title may evoke memories of the archaic science videos you fell asleep to in grade school, Schwartzberg’s film quickly proves to be one of the year’s most mind-blowing, soul-cleansing and yes, immensely entertaining triumphs.

Unfortunately, Mary's concept - and it's a good one! - doesn't blossom into the truly spooky, the truly eerie, even though it's given countless chances to do so.

The plot seems sillier the more one mulls it over, yet it’s a testament to the film that we’re not preoccupied with questions of probability for the duration of its running time.

This movie is atrocious, never making a lick of sense, wearing its “message” on its sleeve like a bad term paper, and then ending in a way that should make you angry more than eager to see if it makes any sense.

Others may find In My Room to be a small gem thanks to Köhler’s eye for small details. He’s a keen image-maker; Armin’s story also resonates thanks to Köhler’s ear for naturalistic dialogue and novelistic detail, both of which serve the movie’s episodic narrative.

With weighty things to say about contemporary and corrupt institutions of power and even dangers of male hegemony, Michôd’s non-preachy The King comes with philosophical heft and visual authority to match.

There are about half a dozen bright spots in the new animated feature The Addams Family, but in between them is the unbright and unoriginal storyline about how the real monsters are the ordinary people, not the weird people.

Although the title is confounding and perhaps the movie’s worst misstep, it’s Byrne’s digitized and stilted delivery that earns the biggest laughs.

The result is a project that feels true to its source, a well-crafted epilogue for a beloved character who vividly understands the concept of consequences.

Gemini Man never pretends to be anything but a time-wasting contraption hoping to entertain its viewer. I can’t reasonably be mad at its honesty, and despite the horrendous dialogue its actors are often forced to speak, I found myself enjoying a fair amount of it.

True to previous form, Mister America is more of a relaxed, giggly character study than one that treats gags like clockwork. In a natural tonal shift, this restraint makes way for a melancholy rumination on Tim's self-destructive narcissism, which gives the film its ultimate staying power.