Equals goes for the Vulcan solution, and while the movie feels a bit thin and padded as a feature, it believes in itself completely, and there are moments when the sincerity of the lead actors and the director's addiction to the narcotics of Kristen Stewart's eyes, lips, neck and hands puts the whole concept over the top.

A movie hopped up on the period piece sadism within Tarantino’s regurgitation cinema, Outlaws & Angels gravely mistakes Tarantino’s audaciousness for its own originality.

The film can be smothered by the obligations of its plot, but it's still beautiful and original, extremely funny, and sometimes very moving.

It’s the filmmaking around the writing that casts a particular spell.

The same weakness that has plagued a goodly portion of major releases this year that rely on past successes for their reason to exist rears up again: the lack of the new and fresh.

The film as a whole just never quite overcomes the inherent familiarity of its premise to become its own unique thing. Those looking for a story equal to Cranston’s contributions to it are liable to come away from it feeling slightly disappointed.

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.”

The movie is shamelessly manipulative on several levels, and the cast members do their respective bits effectively.

Pair Fathers and Daughters with a bottle of wine and a friend on a rainy night, and it will work just fine.

With a bigger budget and a longer runtime, Cell could easily have been elevated above its current station as a worthy 2 AM viewing on cable — not that there’s anything wrong with that. It’s cursed with some really cheap CGI, but blessed with actors who are game for, and respect, the material.

Meerpool’s movie is scary without being alarmist.

I can't think of another recent domestic drama that is simultaneously so optimistic and so melancholic.

Captain Fantastic treats the situation (and Ben) so uncritically and so sympathetically that there is a total disconnect between what is actually onscreen and what Ross thinks is onscreen.

While the film works as a primer for viewers who are curious about Lear but don’t know the details of his life and work, it’s more interesting as a movie about age and memory.

Easily the most important film anyone has released this year, it is a documentary that deserves to be seen by every sentient citizen of this country – and indeed the world.

Owing some of its charms to other sex comedies from that decade, this Sundance 2016 title (now playing on Netflix) proves to be more layered than its promises of shenanigans may expect, especially as this is the rare sex comedy that doesn’t glorify the male gaze.

Confuses repetitive raunchiness with daring humor. It hammers us over the head with the same handful of jokes in the hopes of beating us into submission. And it strains the screen appeal of a group of actors who normally are enormously likable.

The disposable, summer diversion that many families will be looking for as temperatures rise and the start of school seems so far away, but most won’t be able to remember after they see it.

Although unintentionally funny throughout, its evocation of life in a totalitarian society is ultimately chilling. The happy picture the North Koreans struggle to present implies unfathomable depths of violence to the human spirit beneath its glossy surface.

Still, the funny lady is better at zinging quips than defining her Socialist agenda.

While Gondry calms his creative instincts to toy with the ordinary, he indirectly errs on making Microbe and Gasoline his first forgettable film.

Even for how negatively I responded to the bafflingly inept Marauders, I choose to believe that Miller and his overly talented cast didn’t just do it for a paycheck. Even with that in mind, it’s hard to forgive.

While White’s direction is atmospheric, the sense of tension never gets crucial; the movie’s got more of a mood of resignation than of conflict. For all its respectful and respectable qualities, it also suffers from a certain inertia.

Carnage Park is an extremely empty experience.

Veteran French director Anne Fontaine approaches a spiritually and emotionally complex real-life slice of history with deftness and understated drama in The Innocents.

Powerful and emotional, without being manipulative. It is deeply inspiring, without trying to be. It is honest about Owen's struggles, and the struggles of his family.

Every few seconds there's an image that delights for delight's sake.

There's nothing specific, thoughtful or emotionally involving about Election Night beyond a basic need to push buttons, and get a rise out of viewers. The good guys are actually bad, and the bad guys are too indistinct to be hateful. Vote with your wallets, and go see something else.