Just watch 11 Minutes like you're channel-surfing, only you don't have the remote and the roar of static between stations is steadily growing louder as the channels switch back-and-forth, faster and faster.

The latest example of what I call an emperor’s-new-clothes film is Neon Bull.

Sometimes its meandering approach can feel a bit more detached than in Trier’s best work, but this is ultimately a delicate, complex film that lingers, unpacking itself in your mind. You remember it in the same kind of fragmented images that haunt its characters.

Simply falls short.

If his work still shocks, it stirs the soul, for he was a classicist reaching for the perfect form.

The film does an excellent job of letting us inside Lakshmi's physical and emotional experience.

Strategy combats chaos, strategy focuses people on one goal, and with strategy, winning is actually possible. That's what The Dark Horse is all about.

For Francofonia, Sokurov returns to the art museum, but perhaps taking a cue from its Parisian setting, this film wanders like a flâneur between past and present, traversing space and history, crossing from fiction to nonfiction and back.

This is not a film for people unfamiliar with Tsai and Lee’s work. It’s a film for cinephiles who loved “Stray Dogs.”

It’s amusingly slick and mean for a while, but ultimately the film’s one-note nihilism grows numbing, and its stylish visuals and well-chosen soundtrack can only do so much to keep it lively.

Miles Ahead is a film of ugly, bold bravado.

Hardcore Henry is like a good roller-coaster in that it does not require a complex reason to be: it's there, it's fun, you ride it, and that's about it.

Throughout its last hour it keeps jumping into your lap and demanding love without doing anything to earn it.

Even by the standards of raunchy, comic spoofs, director and co-writer Deon Taylor’s film feels especially scattered.

There are serious movies about the Christian faith, about the persecution of the faithful, and about the intolerance that goes both ways. God's Not Dead 2 is not one of them.

When Linklater's style works (and it works in Everybody Wants Some!!), there is nobody quite like him.

The movie’s incredibly irritating characters made me remember why I only ever needed to watch “The Blair Witch Project” once, and its hobbling, dopey, drawn-out plotlines and xenophobic thematic threads made me think very, very kind thoughts about Eli Roth’s “Hostel” movies, which at least have ruthless efficiency going for them.

A sweetly-intentioned though somewhat awkwardly structured spin on a Hallmark Channel-style dramedy that strives to shed light on the disorder from a female perspective.

Baskin does what many horror films try and fail to do: it makes you feel like you're a passive prisoner/spectator, watching as an especially vivid nightmare unfolds.

The performers continue to exhibit those qualities forty years after the fact, reuniting in the evocative, sometimes puzzling, and sometimes moving Valley of Love.

It feels somewhat clichéd to call an animated adventure film a “delight,” but it’s the best word for the latest from GKids, April and the Extraordinary World, a joyful, accomplished movie that echoes “The City of Lost Children,” “The Adventures of Tintin,” “Metropolis,” “Howl’s Moving Castle” and something unique into a, well, delightful piece of work.

The particularly outstanding cinematography is by Dante Spinotti, the craftsman who also shot the likes of “Heat” and “L.A. Confidential.”

The film isn't perfect, and in a lot of ways it doesn't accomplish what it set out to do, but if you're going to tell a story about Chet Baker you need to understand what it means to "get inside every note." Born To Be Blue does.

Over and over again, this is the level of humor in My Big Fat Greek Wedding 2 — this is the shrill note it hits.

Park coats the big heart he has for these people with warm LA lens flares, and finds energy from sharp cuts and wall-to-wall music. It’s the performances that prove to be spotty, with flat line-readings all around and displays of emotions that struggle to reach from the script to the audience.

There are a few brilliantly realized moments, the acting is mostly strong despite the weak script (Affleck and Cavill are both superb—Affleck unexpectedly so), and there's enough mythic raw material sunk deep in every scene that you can piece together a classic in your mind if you're feeling charitable; but if you aren't, “Batman v. Superman” will seem like a missed opportunity.

As comedy, the events are more often charming than funny; even when some sequences fall flat, they show a dedication to the surrealism that’s charismatic.

This ostensibly edgy comedy didn't wring a single laugh out of me until maybe fifteen minutes before the finale.