Like a beautifully constructed puzzle box, The Wild Goose Lake various layers unfold in satisfying ways. With elegant violence, emotional richness and a complex yet coherent storyline, this is a rare bit of crime thriller treat that truly pays off.

This is as close to a multiplex contender as Porumboiu is likely to get, which may of course aggravate those that like their drinks sour, their bread hard and crusty, and their films to be as esoteric as possible. For those that don’t mind a bit of fun along the way this quirky, surreal crime thriller just might work its way into your heart.

Guns Akimbo glides on the strength of Radcliffe’s work, which is equally committed to selling a self-deprecating verbal barb as it is to executing an extended bit of physical humor.

Matthew Pope country-fries gutter luck, sizzles up a healthy portion of stand-off tension, and serves one nasty slice of homestyle revenge. Maybe too bleak for some, but sorry. Life isn’t all rainbows and Skittles. Kudos to the filmmakers who don’t shy away from the lows we’re forced to stomach and those failed in the process.

Moss gives yet another fearless performance – hers is a raw, exposed, physical, and ultimately fierce role, and it’s often stunning to watch the manic energy in her eyes as she attacks a scene.

Heroes Rising is an impressive piece of fan-service with beautiful character work and some of the most inventive and dazzling fight sequences that the series has ever seen. But a recycled plot and villain threaten to doom the film to the lower echelons of forgettable anime movies.

Most attempts to adapt the works of Jack London to the big screen have, more often than not, resulted in a neutered final product. Chris Sanders‘ live-action/computer-animated adaptation of The Call of the Wild falls firmly in this category.

Onward is a decent, well-paced, well-animated, moderately enjoyable film. It’s got a good message, an emotional third act, and some pleasantly surprising jokes. Onward is…OK. The problem with Onward is that Pixar’s original films are incredible. OK is, simply, just not good enough.

It’s a film completely devoid of energy, or atmosphere. It’s so boring at times that it’s almost impressive.

The brothers tend not to dally much with their narratives, but even adjusting for their typical brevity, Young Ahmed feels like a cursory examination of the social issues they raise. It lacks the incisiveness of their other glances directly into the heart of Belgian society.

Despite some storytelling stumbles, Standing Up, Falling Down manages to stay upright thanks to knockout performances from Schwartz and Crystal.

The result is a lively, kinetic film that dances between the natural and the fanciful, centered on a dynamo of a cinematic character played by the first-time actress.

There’s artificiality to Emma. that, while it makes it a joy to watch and admire, doesn’t leave us with much of a lasting impact. But despite all that, it is refreshing to see an Austen adaptation that finally captures the author’s witty, satirical talents.

Fantasy Island is a failure on nearly every level.

Olympic Dreams ‘s goal isn’t to inundate you with complex themes or ideas. Simplicity is key for this film – it all comes down to a man and a woman who want to spend time together and then…spend time together. Layering that with the gorgeous Olympic environment makes for an enjoyable, often mesmerizing watch.

With director Tanya Wexler lending the crime dramedy a zippy, irreverent flair, Buffaloed becomes the vehicle for which Deutch can finally show off her chops.

I submit that Sonic the Hedgehog is exhausting. Here is a film that refuses to stop making quips, somehow pulling off the unique feat of never making any of those quips funny.

A Portrait of a Lady on Fire is a richly textured, highly evocative story of love, lust and longing, and thanks to exceptional direction and remarkable, talented actors it’s a work to be cherished.

The film reiterates every detail you already know from the key reports that have been published about him, but the true power of this movie (and for me, the only reason it should exist at all) comes in its interviews with Weinstein’s victims, and the stories from these women are just as heart-rending and disturbing as you probably imagine.

Tom McCarthy gives us a film that serves for a fun family movie night, complete with important lessons, deadpan humor, and, well, a polar bear.

where Shaun the Sheep Movie felt comedically risky and goofy and brilliant, Farmageddon is a bit dated on arrival, making the kinds of jokes that would have felt a bit old hat a decade ago, let alone now. It’s a good thing this movie exists, even if it’s not quite up to snuff.

Come to Daddy is a frenzied thriller pouring out Tarantino quarts of gore and laughs. Lurking beneath its surface, there’s also an unspoken philosophical contemplation on what it means to be a father.

It’s not saying anything deep or groundbreaking about the female experience or the nature of revenge. Birds of Prey is reveling in being as gonzo and stylish as it can be. But when the fights are this thrilling and the humor this absurd, whatever’s underneath the surface doesn’t matter all that much.

This is the truly subversive comic book movie we’ve been waiting for. Now that it’s here, we might start to regret the monster we’ve conjured up.

An icy cold mix of The Shining and religious mania run wild, The Lodge opens with a bang, and never lets up. Take it from someone who doesn’t scare easy: The Lodge is scary as hell.

The film, directed by Portlandia helmer Bill Benz, is too much of a hodge-podge for its own good.

It exists in its own little world, blending genres with surprisingly strong results. What starts off seeming like a quirky rom-com quickly morphs into something far more disturbing, and strange.

The script doesn’t add anything new to the sports movie formula – you can see every major plot development coming from the stratosphere – but Lyn’s execution of those ideas powers the movie through its predictable plotting.