It may not sound like it on the surface, but Raw is absolutely a celebration of female power — of realizing who you are, what you want and how to go after it, albeit with brutally bloody results.

Indian melodrama Rangoon somehow manages to be emotionally resonant despite being overstuffed. This is no small feat given how many different genres, tones, and characters this film juggles.

It’s a fantastic piece of observational filmmaking about a small town on the edge of Texas and three of the men who live there.

The monsters are brilliantly designed and skillfully animated (except for a few shots where Kong looks a tad cartoony), and the army of visual and sound effects artists convince you that that these CGI titans live and breathe and weigh hundreds of tons.

Whatever its limitations, though, The Settlers provides a vivid primer on a situation that looks inherently tragic.

Though the picture is admirable on a conceptual level, its execution is incoherent, interminable and a colossal strain on the eyes.

Blood-soaked Indonesian martial arts flick Headshot is for anyone who liked "The Bourne Identity," but wished it were way more violent.

The film looks like a rushed production that a few friends got together and made over a weekend. Performances range from tolerable to horrendous, and the script needed at least another rewrite to figure out what it was trying to say, and, preferably, buff out a ridiculous twist ending that would make M. Night Shyamalan go “nah.”

In the true spirit of this profoundly uninteresting movie, Donald Cried can only shrug through its central notion that men will be sad boys.

Director Freundlich clearly likes to dig in deep with this kind of character material, and here it pays off in ways it really hasn’t in some of his previous feature work (which includes “Trust the Man” and “The Rebound”).

Tukel takes that tired cliché and blows it to smithereens. Let's hear it for unvarnished hatred expressed with no holds barred.

This is, among other things, something of a fatty movie. It goes out of its way to hit “beats” that it presumes will be satisfying to a mainstream audience.

Table 19 also feels the need to be a romantic comedy in which all's well that ends well, and it's here that the movie fails most conspicuously.

The Shack wants to be a sincere exploration of faith and forgiveness but somehow manages to be both too innocuous and too off-putting for its own good.

I applaud whoever thought of casting Jennifer Beals as Sam’s mother, the lone grown-up who has any real impact.

What’s interesting about Rock Dog is just how very unapologetically a kid’s movie it is.

With music by Qween Beat, Kiki shows the new generation of the ballroom scene, their care for one another, their awareness of the struggles ahead, their determination to be themselves, against all odds. They are scared, but they are strong.

You could call it a musical performance documentary and not be wrong, but it's trying to do other things too, some expertly and others not so well; but there's never a point where you quite get a handle on it because it keeps changing in front of your eyes.

Logan is the rare blockbuster that could be a game-changer. It will certainly change the way we look at other superhero movies and how history judges the entire MCU and DC Universe of films.

Once the movie hits its true stride it’s really fascinating. At least it is if you have an interest in its subject, which I think maybe you should, since the compulsion to stand on a stage and seek approval by telling jokes is one of the most potentially masochistic in the entire human condition

Just when you thought the zombie genre was out of ideas, along comes Colm McCarthy’s smart and engaging The Girl with All the Gifts, a film with echoes of George A. Romero, Danny Boyle, and Robert Kirkman but one that also feels confidently its own creation, a unique take on responsibility, adulthood, and a new chapter in evolution.

Is it good? Uh, well, kind of. Does it make sense? Hmm, er, ask me another. Is it worth seeing? Oh, absolutely.

Its narrative and visual approach almost suggests a compendium of the clichés one should avoid in a film like this.

At only 24, Joris-Peyrafitte shows confidence and talent beyond his years, with an artful eye for imagery and a truthful ear for dialogue.

The character work here is both intimate and nicely compressed. But the movie really gets to its most sublime heights visually.

Hand-in-hand with its bleeding-heart nature, Collide has the ballsy idea of making a serious action movie about a fool in love, but that just becomes one of its many bungled stunts.

An American independent film from the 1990s that just happens to have been released this year.

Franco fills his ensemble with recognizable faces, many of whom give great one-or-two-scene performances. Most notably, Vincent D’Onofrio shines as London.