A moderately entertaining heist movie featuring an animated and reasonably diverting Eccentric Cage Performance.

The Lobster plays rigorously by its own rules without once telegraphing "Just kidding!" While extremely funny, it is a bitter and ruthless film. Lanthimos plays target practice and his aim is deadly.

Stillman pushes the comedy right up to the edge of screwball.

The Darkness is pretty much a total bust—it isn’t scary, it isn’t exciting and it plods along at such a snails pace that even though it clocks in at just over 90 minutes, it plays like it runs at least twice that.

The movie deserves to be known, first of all, as a terrific example of intelligent, captivating film craft—further proof of the recent strength of Mexican cinema.

One of the great director Terence Davies' best films: an example of old school and new school mentalities coming together to create a challenging and unique experience.

The filmmakers really do manage to visualize a distinctly Ballardian nightmare-scape. This in itself makes High-Rise worth experiencing.

Dragon Inn is a romantic action film, but it still feels modern thanks to Hu's strict focus on action. I don't just mean the film's relentless series of fight scenes. Hu's film is all about movement.

Bridgend does have a life on its own beyond fact, but the narrative it offers in place of the headlines only further proves how phenomena like adolescence and death is better observed, not investigated.

The gooey center of the film works for those with a high tolerance for things that might make a majority of the population queasy.

Proves to be a kind of career rehab for Dad.

It almost cries out to be a Mike Leigh film starring Jim Broadbent and other members of the director’s stock company.

At 105 minutes, Elstree 1976 became a bit of a slog for me. Visually, the talking heads-style of documentary can be very dull.

That mashup — of feminine beauty and insanity-inducing toxicity —is a good cipher for everything about Belladonna of Sadness (“Kanashimi no Balladonna”).

See it for the performances. There you will find the whole story.

A Light Beneath Their Feet is a triumph of empathetic filmmaking. It will enthrall viewers merely seeking a coming-of-age yarn, and it contains one of the loveliest prom scenes in recent memory.

Simultaneously lush and lurid, sumptuous and startling, A Bigger Splash never goes where you expect, even as its undercurrent of danger is unmistakable from the start.

The bad news is, there are about ten movies going on in Captain America: Civil War, which is at least seven too many. The good news is, most of them are fun, and there are enough rousing moments to elevate the movie to Marvel's top tier.

Sin Alas has a lot going on, both plot-wise and stylistically, and it often gets quite theatrical, but the overall effect is that of a pure and beautiful simplicity. There is nothing in the way between the story and its impact.

There are some good ideas in the film, albeit a bit obvious ("why can't we all look past our differences and get along?"), and albeit done much better in other films (primarily "The Visitor").

These behind-the-scenes factoids are the most interesting aspects of the film — and, regrettably, the only interesting aspects, as well.

A unique kind of very bad movie. The spectacle of this misbegotten thriller is not amusing enough to recommend to fans of casual movie cheesiness, but it’s the filmmaking choices that made me laugh out loud.

One of those increasingly depressing affairs, like watching air come out of a balloon. You start to feel bad for everyone involved, even the man responsible for it all, Ricky Gervais.

Similar to “Gravity” or “Avatar,” it offers viewers experiences that can only be seen in large scope storytelling, this one coming with the budget of NASA trips to the International Space Station.

Neither character talks all that much, but both actors project complex intelligence and consistent emotional acuity.

What Messina lacks in substance in his storytelling, he mostly makes up with raw feelings. We come to care through our own powers of observation, and that might be enough.

The reason I’m rating this movie higher than I would otherwise, is Christopher Walken. His commitment to making Caleb as thoroughly unlikable as humanly possible yields a character who’s kind of terrifyingly off-putting even when his words and actions are ineffectual. A piece of acting alchemy of which only few are capable. I can’t imagine how powerful it might have been in a better movie.

Great actors wander in and out of a scene, some of them get shot, some just disappear, and the move trudges onward. At least it pauses briefly to address Vince Vaughn’s ridiculous haircut.