It's pretty standard man vs. nature stuff. It’s also a pretty simple parable about the perils of greed. All of this would be fine if “Gold” had more to it, but aside from its undeniable style, there’s very little there there.

The Exorcism of God indulges in many aesthetic and narrative cliches as it reaches a very literal climax, but it overall features more than enough flourishes of originality to elevate it above most possession films.

Ultrasound is a beautiful sci-fi indie that shows us why the horrors of the future may not be so far away, and how our identity is memory.

There is genuine tenderness in his realization that anger does not prevent sadness and that second chances are possible. The action and fantasy are fun, but this is what families will want to talk about after they watch it together.

While the film’s slightly bloated finale overpowers some of the leaner moments that come before it, Turning Red flickers with a bright feminine spirit, one that feels new, crimson-deep, and unapologetically rebellious.

An engaging and sneakily profound film.

Huda's Salon does not stop for one second to take a breath, and the subjects revealed have enormous and urgent philosophical reverb.

Allow the tongue-in-cheek “Fresh” to satisfy your appetite for a generous helping of heartening sisterhood and eradicate your cravings for a juicy burger, possibly forever.

This film is exceptionally skillful in matching the footage to the commentary in thoughtful, illuminating, and often touching pairings.

Co-writer/co-director duo Harpo and Lenny Guit’s apparent disregard for their viewers’ comfort can sometimes be quite funny, depending on your tolerance for messy, meandering absurdist comedy.

Dear Mr. Brody does a fine job of showing how the financial chasm between rich and poor people is as wide and insurmountable today as it was in 1970.

It's one of [Rogowski's] most moving and fully imagined performances, anchoring a drama that tries to do a bit too much for its own good in terms of structure.

Asking for It, the pitifully underwhelming feature debut of writer/director Eamon O’Rourke, is like a guest that shows up to the party late, empty-handed, and without the common courtesy to at least be a good conversationalist.

The Weekend Away is the best kind of purposely preposterous potboiler. The scenery is gorgeous, the twists keep the adrenaline pumping, and the performances are memorable. Even though you might not remember everything that happens, you’ll have a good time while it lasts.

Against the Ice delivers all the delirious period drama thrills and survival horror angst that you could want from a movie with that title.

The prior end to this series, “A Madea Family Funeral,” was actually a decent movie. Madea should have quit while she was ahead.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Cyrano gets the big things right, and Dinklage embodies it all.

Studio 666 is the kind of broad horror-comedy that could certainly stand to be a little scarier, a little funnier, and more clever overall. But then again, no other horror-comedy stars rock band the Foo Fighters as themselves, which is the main pull for this special Foovie event.

The Burning Sea may ultimately be too uptight for its own good, but there’s enough here to satisfy disaster aficionados who’ve already been here before and only really want to root for more of the same.

This ambiguously humorous film with a shaky pace and viewpoint sets forth a tough proposition: will you be patient for its 80+ minutes of running time, accept that nothing much will actually happen throughout that duration and settle for occasional jolts of rewards only?

Feature-length failures as abject as this one are almost frightening, in part because one worries about what kind of a snit the director will be working out if/when he gets a second shot.

Once in a while, you see a film where it's clear that everyone involved is operating at the peak of of their skills, yet the whole is so misguided that the result is still awful. Such is The Desperate Hour.

Instead of exploring the more complex dynamics of adolescent social structure, it limits itself to an artificial set-up and a superficial level of storytelling, more afterschool special than feature film.

No Exit is imperfect and struggles to get going, but it's a grisly piece of work that earns your suspension of disbelief.

Like “The Deeper You Dig,” Hellbender gets better as it gets more surreal, but this one has a nice balance to the out-there imagery in Zelda’s grounded, coming-of-age performance. I love the movies she’s making with her family, but I’d also really like to see what she could do with another director too. She’s got the range and potential.

There’s so much going on in Three Months, so many emotional pieces in motion, but very little of it is particularly moving.

Fistful of Vengeance is a movie in duration only; it’s pretty slapdash in terms of its execution, even during its glossy-looking action set pieces.