A sweet film with a purity of purpose and intent, elevating it above other films portraying similar struggles.

Whether you're new to Inside or a fan of the original, the change that Vivas and his team do make to the ending will leave you scratching your head.

The languidly-paced picture has a staggering array of beautiful images and vistas.

The plot alone of this elegantly shot black-and-white import shares the Woodman’s affection for variations on lusty middle-age man who beds — and tutors — an adoring decades-younger nubile conquest.

The sporadic magic of The Polka King largely comes from its casting, and the hammy performances that follow.

While the issues it engages are timely and important, the film’s claim to fame really comes from its terrific accomplishments on every front, from writing and directing to acting and cinematography.

Proud Mary doesn’t deserve the lack of faith its studio has in it. In fact, it’s almost good, so close to success that its flaws truly become frustrating.

Frustratingly not-quite-there from start to finish.

It’s interesting to witness the encounter and hear the thoughts of young people from such a bitterly divided land.

This really is a paint-by-numbers action movie with two good things going for it. Those are brevity — it’s only 93 minutes long — and immediate forgetability.

The film is worth seeing because, regardless of things that I wish had been done better or differently, it feels like the beginning of a major filmmaking career, and because Pettyfer and Freedson-Jackson are so strong.

Dark Meridian ends up being is a generically violent gang drama full of bad guys standing around grungy warehouses, explaining themselves before shooting each other in the head.

Django is for the most part everything Reinhardt’s music was not: listless, glum and meandering.

It’s a flawed film, but there are elements that really work, especially the lead performance and some of Flanagan’s gifts with composition. Before I Wake is also particularly interesting to watch now as one can see it as a career stepping stone to the movies he's made since.

What elevates Hamoud’s screenplay beyond typical Tinseltown fare, however, is what is at stake by rebelling against cultural norms and choosing a liberal lifestyle—namely, bringing shame to your loved ones and being ostracized by your community.

The film gets increasingly hallucinatory as it progresses, and there's a vivid sense of growing danger.

When Day of the Dead: Bloodline, a promised retelling of one of Romero’s classic “Dead” films came across my radar, I thought, “That might be a fun way to start the new year.” It’s not.

Really, whatever you do, don't watch "The Last Key" without the emotional support of a buddy who can confirm that you're not just imagining this: these movies are still getting incrementally better.

Retrograde, bloated, and formulaic. It's also consistently sincere, energizing, and charming.

It is somewhat refreshing to witness a May-December romance from an older female perspective and both leads pour their hearts into their roles.

A long-winded but engrossing kidnap thriller.

Alas, it also contains many of the same inherent flaws as most movies of this type, and not even the genuinely good and powerful aspects on display are quite able to overcome the more troublesome elements.

Ever the fierce competitor, Molly has found a way to rule in a male-dominated world. If only Molly’s Game had let her win in the end on her own fascinating, complicated terms.

A cheapo “Seven” knock-off that one would be tempted to suggest is beneath the talents of everyone involved, but they knew what they were getting into when they read it.

The actors never once seem engaged with the material beyond the surface. Thus, Crooked House feels as lifeless as the corpse at its center.

The film has a lot going for it. Besides the gorgeous, burnished look supplied by cinematographer Masanobu Takayanagi, Cooper gets a range of fine performances from a topnotch cast.

One only has to go into his latest effort, Happy End, for a couple of minutes to realize that the old Haneke is back with a vengeance.

Filled with insincere wackiness and sappiness, Father Figures never quite figures out whether it wants to be a raunchy, zippy road movie or a more dialogue-driven dramedy. Despite having no personality of its own, this movie just yearns to be recognized at all.