Crimson Peak's atmosphere crackles with sexual passion and dark secrets. There are a couple of monsters (supernatural and human), but the gigantic emotions are the most terrifying thing onscreen.

An intensely felt cinematic experience.

A daring, studied, mannered true story that is at once remarkably genuine and deeply cinematic at the same time. It’s one of the best films of the year.

In My Father's House is deeply wired into the fantasies and contrasting realities of masculinity, as shown through the experience of African-American men living in a cycle of fatherless homes and non-enriching excess, of which the film boasts many fascinating moments.

Endgame tries to be about many important issues, and ends up doing none of them justice.

The movie ambles along amiably enough for a while; it’s better if you are a fan of one or more members of the cast.

Though the film is limited by a point of view that’s too polemically reductive, the idealistic, difficult, sometimes lethal struggles it covers are undeniably revelatory and moving.

It's more of an affectionate spoof on 1980's "summer camp" slasher films.

A very good film, but only if you're willing to inevitably submit to its anarchic sensibility.

The rampancy of clichés might have been okay were Dukhtar slightly more self-aware.

Daldry’s latest, Trash, co-directed with Christian Duurvoort, not only pitches the same Academy woo, it shamelessly mimics Best Picture winner “Slumdog Millionaire.”

The best thing about Victoria isn’t actually its technical prowess—it’s the lead performance from the mesmerizing Laia Costa as the title character.

The ending — with its revelation of what these girls were really after all along — is so frustrating, you’re likely to wonder: Is that all there is?

This is a fascinating piece of work that approaches “Citizenfour” in its deconstruction of governmental failure and the systems underneath the war on terror that are not only failing to keep us safe but impacting the entire world political scene.

Even by Maddin's standards, it is a pretty wild ride in all aspects, starting with its very concept.

This a super-Sorkiny Aaron Sorkin script — full of the kind of well-timed zingers and clever turns of phrase that never occur to us in real life.

To begin with, the very premise feels off. Peter Pan isn’t a superhero and doesn’t really need an origin story, especially one that opens at a London orphanage for boys during the Blitz and borrows heavily from the “Oliver Twist” handbook.

The Green Inferno is not exactly a feel-good film, but it gets a very particular job done.

There’s a compelling cinematic story here, perhaps, but Ricciarelli’s movie is too diffused and scattered and, especially in its first hour, too reliant on commonplaces.

The film’s heart is in the right place, but its focus is not.

The film is constantly undercutting its own ability to generate any real suspense because whenever one of the stories begins to generate any real head of steam, viewers are jerked into another one and the whole process starts over again.

Gorehounds need not worry that a movie called Deathgasm plays it safe. This is a defiantly, well, metal movie.

Håfström’s noir vision does have some slick atmosphere, including some great things to look at, but it has very little to grab onto, never mind take out of the theater, other than a headache.

The storyline is so rote that the idiosyncrasies of the scene don’t register with any power.

Addicted to Fresno is such a mean-spirited, dull and silly movie that it buries its talented cast under the weight of a horrendous script that they can’t possibly redeem.

Panahi’s latest act of defiance is entirely commendable on a number of levels, but I regret to say that from my own perspective, Taxi is the weakest of the films he’s made since he was enjoined from making them.

Partisan, Cassel’s latest movie that smartly keeps his innate menace on a slow, low simmer, isn’t nearly as convincing or compelling as its star.

While we do indeed see the normalcy of her home life with her parents and younger brothers and the regular, teenage-girl instincts that exist alongside her courage, we never get a glimpse into her deeper feelings.