The vast majority of this picture is extremely well done, which is what makes its sudden misstep into wish fulfillment sentimentality during the final twenty minutes all the more of a letdown.

Bonello knows exactly when he's said just enough, and that makes the experience of watching Nocturama more engaging.

It’s a contemplative film that manages to whisk the audience away to an unfamiliar land whose off-the-grid survival you can’t help but root for.

A more accurate title for the low-budget indie Civil War drama would be, “Man (Sing.) Goes to Battle. Eventually. Sort of. For a While. Then Leaves. Other Man Stays Home.” But to avoid that marquee-buster, here’s the concise version: “Mumblecore Civil War.”

Anchored by powerful performances by two deeply underrated actors, Lorelei is a heartfelt drama that succumbs to some thin dialogue and set-ups but feels like it truly loves its outsider characters, and that empathy allows us to root for them too.

While the points where Wildcat goes beyond simply being a feel-good nature documentary and delves into Harry’s mental health struggles are honest, they raise more questions than they answer.

In an era of stark division, not to mention demands for simplistic storytelling one can absorb while doing household chores, “Honey Bunch” revels in the uncertain, ungraspable, the neither-nor of it all.

Told through a humanist lens, it never resorts to simple sentimentality.

The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.

Best of all: you don't have to wait until a concluding set piece for To to prove his prowess as a storyteller.

Despite what the title suggests, Wonderstruck represents a rare disappointment from master filmmaker Todd Haynes.

It feels immediate and rings true, thanks to the performances of its lead actors, and the storytelling of director Yen Tan and his co-writer, co-editor. and cinematographer, the single-named Hutch.

True to form, Hacksaw Ridge draws equally on Gibson's bottomless thirst for mayhem and his sincerely held religious beliefs — or some of them, anyway. It's a movie at war with itself.

What’s remarkable is how Alexandra Pelosi, shooting much of the footage herself with a handheld camera, captures images that resonate on multiple provocative levels following the events of recent months.

Amid all the jaw-dropping tales of bullying behavior, there is a constant and almost mordant acknowledgement of the one thing that Ailes was scarily right about: that no public official will ever again be elected “without the skillful use of television.”

Chainsaw Man The Movie: Reze Arc is a beautiful, bizarre, and poignant adaptation worthy of its source material.

A giddy chase scene almost singlehandedly rescues Escape from Mogadishu, an otherwise unmoving South Korean political thriller about the real-life Korean diplomats who fled Somalia during that country’s 1991 civil war.

Despite a few very funny beats, and a charming performance from the great Ben Mendelsohn, there’s an air of tragedy throughout “Steady Habits,” as if everyone is one bottle of wine away from doing or saying something they will regret forever. In other words, it’s an insightful portrait of middle-age in the ‘10s.

By virtue of its subject, Always in Season is going to be a very hard sit for many, but this film should be seen. It is an unflinching look at how the racial sins of the past remain flowing through the arteries of the present day.

It's a self-aware movie that makes fun of the macho clichés it indulges.

It’s a film that struggles to maintain its nightmare grip on the viewer as the repetition becomes more numbing than entrancing.

As for why the film is called "the pervert's" guide, this reviewer noted that its end credits do not acknowledge the many movies it draws upon so copiously. That, in terms of standard filmmaking etiquette, truly is perverse.

Told in 71 minutes, the breezy melodrama moves through reality and happenstance with a winking glee that recalls the gentle works of Bill Forsyth—albeit with less thematic heft.

Pickles in a bag, runaway sheep, dusty roads, the same movie over and over until the tape wears out—these are the sense memories that remind the filmmaker who he is and where he comes from. To share it with the world in this way is an act of profound generosity and love.

Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around... We Are What We Are is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one.

There’s more to the Oasis story than what we see here, even if this does capture that historic moment when two brothers from Manchester fronted the biggest band in the world.

Gemini has a breezy lethargy and the characters always look on the brink of sleep. With a cobalt and ultraviolet color scheme and a jazzy score, the movie seems to be cast in the dreariness of Hollywood dreams.

Brad’s Status might be the most Ben Stillerish movie Ben Stiller has ever made, and that’s actually a good thing.