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.

Although Friedkin was notoriously grandiose at certain stages of his career, he comes across as mostly calm, self-deprecating and centered here, at least when he's concentrating on the nuts and bolts of moviemaking.

As It Is in Heaven ultimately doesn't go anywhere unexpected, but it does foster a potent, unexpected bond between its subjects and its audience.

There is a welcome sense of familiarity in Bridget Jones's Baby — but also of the fresh and au courant.

It's a deceptively complex piece of filmmaking, something that feels artfully executed and organic at the same time. It has so many layers, all of them covered in the emotions that erupt when we reconnect with our families.

It’s a mid-budget riff on “Bullet Train,” after all—but meet it on its altitude, and it’s a bloody, funny good time.

Habits are hard to change; sadly, the people who are most likely to seek out a movie like Eating Animals are already on board with its message.

The most striking and curious aspect of Man of Steel is the way it minimizes and even shuts out women.

As it is, Seriously Red sneaks up on you.

Tamahori and co-writer Shane Danielsen may have taken some historical liberties in loosely basing their script on true events, creating composite characters or writing in new figures. Still, if the goal of “The Convert” was to give a sense of New Zealand when most of its residents called it by its Māori name, Aotearoa, then it is successful.

Daniels delights in his actors, all of whom accept the challenge of bringing something true and vibrant to their various sketchily written characters with the enthusiasm of celebrity competition-show contestants.

Where Maya Dardel really works is when it sticks to being a character study.

It’s certainly like nothing else you’ll see this year.

Grief and loss can take hold of your soul, not unlike a possession; what Clapin explores here is the temptation of reconnection, and what that oft-impossible yearning can do to a person.

Ian McKellen is stunningly good as the older painter, Julian Sklar, a 1960s Swingin’ London sensation who has aged into a decrepit caricature of himself.

Rams is an involving, at times curiously exciting film, because the story is so clean and simple and we always know what's at stake.

It’s a full cast of rising young stars, like Stranger Things before it, and Fear Street gives that palpable sense of having fun while hanging out with them, but worrying that one of them might abruptly die.

A dinner-party-from-hell scenario best served as unspoiled as possible. After all, a psychological thriller built upon slow-simmering tension is only as good as its surprises.

A tender and gentle coming-of-age story, as well as a meditation on grief and letting go. It is also that very rare thing, a movie about teenagers where the characters actually seem like real teenagers, as opposed to mini posing adults.

The sheer musicality of Félicité signals Gomis’ refusal to be pigeonholed into any category of filmmaker.

One of the most refreshing things about Laurie Simmons’ similarly provocative feature directorial debut, My Art, is in how it challenges the very notion of what constitutes a happy ending.

What makes La Camioneta so interesting is not so much the story that it tells as it is the way that Kendall has chosen to tell it.

For a story of a guy who’s willing to get messy for the first time in years, it’s an overly clean piece of screenwriting, one that too often lets its A-list star play ideas instead of a character. But there’s enough to like here to forgive a film whose ambition exceeds its reach, both in some of those ideas and a flawless supporting cast, especially another fantastic turn from Adam Sandler.

The special effects are still top-notch and it is a pleasant little scare-fest for the Halloween season.

Although Rotting in the Sun isn’t revelatory about how little those in the higher echelons of society think about the tribulations of average people, the movie’s forceful way of expressing it achieves its presumed goal: to punch up and mock the fools.

Such is the nature of this movie. It’s like a series of charcoal sketches with marginalia; there are unexpected mini-flashbacks, and even a visualization of a poem. Hong’s free style isn’t showy; there’s a stillness holding the film together at all times.

This is a solid thrill ride all around, especially for those who like their Faustian parables with a bit of the bloody red stuff.

It’s a shaggy hangout film where McCartney and Wonder are dimwitted adversaries who spend their days getting high, insulting one another, and eating veggie dinners. In short, it’s incredibly fun.