The screenplay by Damian Shannon and Mark Swift is sharp and funny, and contains knowing insights about misogyny in the workplace and the shifting dynamic between a toxic male boss and an overlooked and mistreated female employee. Mostly, though, “Send Help” is about paying your ticket for an R-rated, Sam Raimi thrill ride with projectile vomiting, flying ropes of blood, and a handful of scenes that fly so off the rails that you wonder if we’re in the middle of a dream sequence, or the mayhem is real.

This is an enchanting film. At every moment, one feels spellbound by its earnest aims and its heartwarming excursions.

Our Time is even funny sometimes, albeit in the same kind of wryly mordant and cosmically alienated way as Stanley Kubrick’s “Eyes Wide Shut.”

This is the End finds a balanced tone most horror comedies fail to deliver. Grossout humor melds easily with grossout horror, sometimes at the same moment.

Regardless of one’s whereabouts or knowledge of the Great White North, viewers will likely find this comic fable chillingly relatable, as the world teeters on the brink of totalitarian collapse.

"Colorful" is not a colorful enough word to describe a fantasy movie musical so maximalist that even the title is overstuffed.

Stritch is a documentary subject as fearless and raw as her stage persona.

16 Shots feels like an impassioned, intelligent document of a major moment in the history of Chicago.

Casta and Garrel generate wary warmth as a couple rediscovering each other, while Depp and Engel provide the comedic ballast.

What is truly delightful about the film is its loopy, gently slapstick sense of humor, its use of continuous running gags that pay off cumulatively (no small feat), and the dreamy sense that Schilling's somnambulism is pierced through only by the insane incomprehensible behavior of others.

It’s a tour-de-force of voluptuously bloody slapstick that knows that we know how these movies work.

The film doesn't feel or look like a documentary. It's a character-based piece, but the structure is carefully considered with a clear narrative thrust and an unusual style.

Part of the film's specialness lies in the fact that there seems to be little rhyme or reason to the choices it makes, or when it decides to make them.

It’s a daring, long film that sometimes feels too chilly and self-indulgent, but it builds to a series of scenes that hit like a punch.

Filmmaker Ira Deutchman offers a compelling biographical portrait of a highly influential New York movie theater owner and independent film distributor that is, by extension, a study of the importance and complexities of creative film marketing.

It is triumphant, jarring and pulls its audience into an intimate storyline that demands to be witnessed.

Brother is a portrait of Black youth pitted against forces beyond their control.

The finest and most genuinely provocative horror movie to emerge in this still very-new century.

Everything depends on the feel of the moment, the way the actors look at each other, or listen, or react. Directed by Sophie Hyde, with a script by Katy Brand, these risks more than pay off, and often in very unexpected ways.

Honeyland is both an immersive experience and an undeniably gorgeous reflection on our relationship to nature.

This movie grabs you by the heart quickly and doesn’t let up the stress for any significant amount of time.

The new film combines the filmmaker’s distinctive stylistic verve and droll wit with the talents and charisma of Mexico’s leading international movie star, Gael Garcia Bernal.

If you are willing to suspend your disbelief for 132 minutes, you may find yourself head-over-heels for this film's brand of gross, thoughtful pulp fiction.

A film so purely entertaining that you almost forget how scary it is. With all its terror, The Visit is an extremely funny film.

Screenwriter Jim Beggarly deftly combines believable characters with a solid narrative structure.

Co-written by Seligman and Sennott, Bottoms is fun and silly in all its chaos. The two have created a ridiculous world where the overdramatic high school drama is not always supposed to make sense, but that’s part of the appeal.

For fans of Neil Young and Crazy Horse, Mountaintop is pretty much a must-see—it gives them a chance to see their heroes at work in a raw and unfiltered manner, and the fact that the Colorado album is Young’s strongest collection of new songs since Psychedelic Pill is certainly a sweetener to the deal. Those who cannot stand their sound, on the other hand, are not likely to be won over.

As with plenty of memorable comedies, what makes “Dad & Step-Dad” a special treat is that beneath its well-mannered raunchiness and stoic silliness there’s an undercurrent of something truthful about the human condition.