The Woman Who Left isn't as exhausting as other recent works by Diaz, like “Century of Birthing” or “Norte, The End of History,” and its grace notes are more sublime.

And the matter-of-fact portrayal of a bi-racial relationship is presented just as it should be — unremarked upon.

Even though half of her screen time consists of her being seen but not heard, Garner has a consistent crispness; her character is simultaneously transparent and slightly enigmatic.

As gripping as the movie is as a legal thriller, it's even more notable as a portrait of a community.

Jettisons everything that’s honest and worthwhile about the books in favor of hackneyed misadventures and gross-out scatological humor.

This is one of Scott’s best-directed movies and one of his most entertaining overall, partly because he’s working in a genre, the science fiction spectacle, that he does better than anyone since Stanley Kubrick, but also because he seems to be approaching it almost entirely in terms of visceral impact and emotion—as symphony of fire and blood, poetry and schlock.

Most of all it is a pure story about love, without the scandals.

It’s a strangely aimless film with some good ideas but it never follows through.

Absolutely Anything is more than its unique place in history, and serves to remind us that no one made movies for goofy adults quite like Jones did.

Sleazy Australian kidnapping drama Hounds of Love will make you wish you were watching a more traditionally nihilistic horror film.

In some ways, Stone’s soul seems part carnival huckster, part 19th century anarchist. A petri dish of toxic pathologies, he has come so far from his Goldwaterite beginnings he could now write his own book: A Conservative Without a Conscience.

For this viewer, the formal element and the narrative never quite cohered, and I wound up admiring the movie for its ambition while unsatisfied with its achievement.

The Wedding Plan feels less like “My Big Fat Jewish Nuptials” and more of a faith-based variation on a Disney princess fantasy. Instead of a fairy godmother, God himself will find her Mr. Right.

Where The Wall excels is in the creation of an extra-untantalizing desert atmosphere. The dust is practically inhalable, the sunlight glaring, and the characters grow ever more sand-gritted with each mishap.

Lane, still an incandescent knockout at 52, continues to pull off expressing sensuality and sexiness better than most actresses of any age.

Lowriders may spell too much out with obvious dialogue, and it may veer a bit too easily toward melodrama. But there’s an earnestness and a fundamental truth to this familial saga—as well as an appealing, low-budget scrappiness—that consistently make it hum.

The problem with The Drowning isn't that the characters are insubstantial, but rather that they don't dry up and disappear fast enough.

The film is thought-provoking, visually arresting, and occasionally very self-important.

It’s a mismatched-buddy comedy. It’s a fish-out-of-water comedy. It’s a raucous girl-power comedy.

The result is an oxymoron: a frenetic slog. That’s unfortunately what happens to King Arthur: Legend of the Sword.

At some point, queasy horror-comedy Another Evil stops being about one man's comically vain attempts at exorcising his home, and starts being a weird character study about a laughably desperate wannabe exorcist.

Chuck ultimately works, mainly because Schreiber is so watchable. There's something compelling about seeing a man who is so strong and so weak, simultaneously. You like him in spite of him.

Directed by Pappi Corsicato and executive produced, typically, by the subject himself, the movie is never uninteresting but is often surprisingly low-energy and, even more surprisingly, visually drab.

He was a real artist and, especially if you believe that art is all about asking questions, about life and about art, he was a great one.

Takes on the topic of gender dysphoria with a talented cast but not much to say.

What it really is is a screwball comedy with a black-hearted center, an energy extremely difficult to capture and maintain, but Healy—as actor and as director—manages to do so.

An incredibly frustrating movie, almost purposefully so.

The film is not one for any viewer who’s never heard of Assange. Indeed, it’s best suited to audiences who are familiar with the basic Wikileaks saga and thus prepared for Poitras’ much more intimate and nuanced view of events and personalities that the mainstream media tend to present in more reductive terms.