It's a quiet and gentle film, emotional but not manipulatively sentimental, sad but not nihilistic, Marilyn Manson epigram and Goth-font chapter markers notwithstanding.

Coming Through the Rye may be the closest we’ll ever get cinematically to the novel. And in being so far away from it, it’s close enough.

As much as I wanted to be transported to the world of Miss Hokusai, it felt more like an analytical examination of a period and one of its most artistic voices, and I could never quite engage with that aspect of it.

What should have been a solid B-movie thriller with a premise torn from today’s headlines is instead as arid and desolate as the land between the United States and Mexico in which it is set.

Christine, centered on a riveting and at times unbearably emotional performance by Rebecca Hall, attempts to give a three-dimensional and respectful-yet-honest portrait of a complex woman. Sometimes the film is successful in this, sometimes it's not.

Braga has created a formidable force of nature in Clara.

It is purposefully slow, a film meant to be lived in and considered carefully when it’s done. Almost none of it feels as “important” as my teacher explained and yet it is still great drama.

Kevin Hart: What Now? is Kevin Hart at the top of his game.

Demme’s concert films aren’t just recordings of events—they’re cinematic embodiments of their musicians, capturing in a moment an energy that transcends time.

Tower is explanatory journalism and history, but also personally expressive, and the two impulses never cancel each other out.

As hard as it is to admit, Guest’s once-incisive satirical bite has grown dull in its familiarity. He doesn’t seem to be having as much fun here and neither are we.

It goes very far south, with two plot reveals that are among the most ludicrous that I’ve experienced in quite some time.

You shouldn't watch Shin Godzilla for Godzilla alone. He's not really the star of the film—Yaguchi and the rest of his human adversaries are. They credibly resist the end of the world with ingenuity and teamwork, making Shin Godzilla just as winningly optimistic as it is pleasurably eccentric.

Kevin Pollak's raunchy comedy The Late Bloomer is merely cheesy and horny, but rarely amusing.

Is it worth seeing? Yes, but only if you enjoy being grossed out.

The movie’s impersonal, conventional telling of a reasonably standard male coming-of-age story almost tends to make the punk milieu it depicts beside the point.

This decidedly dark and super-violent South Korean crime drama from Kim Sung-su tells a tale so jam-packed with betrayals, double-crosses and alleged authority figures that even the most dedicated of genre buffs may find it too unrelentingly grim and cynical for their tastes.

A spectacularly foursquare “family is what you make it” redemption story. The kind of thing that film critics like to dismiss as “looking like a made-for-TV movie,” as if that comparison/analogy even holds as a dismissal anymore.

Ravager does have an internal logic that makes its time and subplot-jumping story easy to follow. But this new Phantasm will not be of interest to anyone who doesn't already know who the Tall Man is, or why he needs to be stopped.

This isn’t a film that makes a big deal of its contemporary authenticity; it wears its carefully measured elements lightly, the better to shine a light on its intriguing characters.

Newtown is being characterized as an apolitical documentary, just a portrait of Newtown before, during and after the shootings, but that's not entirely true.

A gentle, genuine trip down memory lane that features one of our best actresses in the kind of role she doesn’t get to play that often, and another great turn in the arc of an independent film icon.

Under the Shadow, a Farsi-language debut feature written and directed by Babak Anvari, creates a world where reality itself is suspect. In a year filled with great first features, add Under the Shadow to the list.

Better than middling as it sidesteps the trap of simply pandering to its youthful demo with cheap laughs and silly mugging.

It’s just a flat and suspense-free tale of pretty people in peril.

Like many Mel Gibson films, as well as such revenge-driven revisionist Westerns as "Posse" and "Django Unchained," The Birth of a Nation is an intriguing object, passionate and furious and shameless and slick, distorting history in both defensible and problematic ways.

The film builds its case piece by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before closing out on a visual note of hope designed to keep us on the hook as advocates for change.

It’s a well-made, accomplished piece of filmmaking that works because of how it focuses such a large case down to its key players, thereby illuminating how something like this could happen to anyone.