You might think that a movie about the construction of one of the most iconic structures in the world would be carefully put together. But that is not the case with the sumptuous, often frustrating Eiffel, the story of a man whose name is as joined to the Tower emblematic of Paris as the 133-year-old beams that are still sturdily riveted (not bolted) together.

Misshapen parts and all, “Fortune Favors” fulfills its purpose as a joyfully eccentric tribute to personal authenticity.

After Blue advertises itself as a sci-fi/fantasy epic, and although it’s a long and complicated story with many elaborate settings, it ends up feeling small and inconsequential by the end.

RRR feels simultaneously personal and gargantuan in scope.

On the fresh side of the bun, The Bob’s Burgers Movie is briskly plotted and nails the big heart and wonderful characters of the beloved FOX show. On the stale side, it lacks a little in the ambition department, setting up an interesting tale of various issues of doubt within the members of the Belcher clan only to not do much with that set-up until a rushed finale. But it’s never boring, and it’s smarter than most pop culture-obsessed children’s entertainment.

Dinner in America, written, directed, and edited by Adam Rehmeier, is a movie with anti-establishment anti-social quicksilver coursing through its veins, but at its heart it is a sweet love story, one of the sweetest in recent memory.

It’s refreshing to see an account of a famous food guy who doesn’t wallow in his own character defects.

Carpignano’s impressionistic plot and pseudo-naturalistic style also tends to boil down human emotions so as to only suggest rather than reveal complexity. The limiting style and characterizations in A Chiara are only so thoughtful.

After the pure joy of the musical numbers, the best thing about this movie is that even with all of its abundance it leaves you wanting more.

It’s not exactly revolutionary, and more alarming than scary. But it’s still provocatively feverish stuff from the dearly missed vintage annals of Cronenberg.

This is a dazzling movie, all the more so for being made on a seemingly tiny budget. Emergency has a lot to say even though it never carries itself as a film that has a message.

Whatever your reaction is to the latest meticulously made mind warp from writer/director Alex Garland, it won’t be indifference. This is a visceral experience, and it reinforces Garland’s singular prowess as a craftsman of indelible visuals and gripping mood.

The excellent and infuriating Hold Your Fire has all the twists and turns of the best hostage movie thrillers.

Take away the cameos—in the recording booth, and animated on-screen—and you get something that's a little too close to the same old junk.

Director Simon Curtis and editor Adam Recht deserve a lot of credit for packing a helluva lot of story into a picture that’s only a hair over 120 minutes.

Sometimes the walls don’t have to be closing in to create an oppressive atmosphere. Sometimes it’s just enough to have the wallpaper closing in.

To give Deception, the latest attempt to bring Roth to the screen, a little bit of credit, it does come closer than most to rendering his prose stylings into cinematic terms. But it does so in a film so lifeless and inert from a dramatic standpoint that few viewers are likely to notice or even care.

The film resonates with deeper messages: the damage done by gentrification, the abyss between the haves and the have-nots, the poor treatment of workers by elites. You don't expect a romcom to explore these issues. But The Valet does. It works.

If Torn Hearts had pushed itself a little harder, it could have ascended into camp heaven, and maybe become a cult classic. As it stands, it’s an unapologetically high-femme distraction that’s better than your average Lifetime thriller.

It’s so refreshing to see an unhurried, patient documentary, one that trusts its audience to follow along rather than relying on cheap gimmicks to manipulate emotions.

Yelling and pratfalls do not disguise the lack of vitality or originality.

There are many rewards to be found here, not the least of which is a skill at staging scenes with beginnings, middles, and ends that are entirely dependent upon the subtle interactions of a few actors who live or die on the basis of the words they've been given to speak, and the silences they've been encouraged to inhabit.

On the Count of Three is a rousing tragicomedy that straddles a line between incredibly calibrated gallows humor and a devastating discourse on the burden of existence.

Thyberg keeps her cards close throughout Pleasure, using the film’s verité framing to obscure the extent of her involvement as a director. The film feels even-handed, in the sense that its fly-on-the-wall style lets situations speak for themselves.

Christina Ricci does most, if not all, of the emotional lifting in the lightweight horror drama Monstrous, a period piece about a single mom and her son who, in 1955, run away from home and re-settle in an isolated lakeside house.

A deep empathy from Vogt for his child actors elevates this from what it could have been, even if it feels like there’s a tighter version that unfolds with a tad more urgency.

The Last Victim plays like a bet between the filmmakers and some sadistic bully who triple-dog-dared them to fit all its disparate plotlines into a cohesive whole.

While it doesn’t quite live up to its grand ambitions, it’s refreshing to see a movie so beautifully and sleekly filmed attempt to wrestle with humanity’s deeper questions. Foxhole might not be in the top tier of the great anti-war film canon, but it's not too far away.