For all its commotion, however, the film doesn’t drum up the madcap mania it seeks.

A movie that’s about—and asks its lead to literally and figuratively wear—masks, A Different Man is a multifaceted meta mind-melter.

A remarkably intimate non-fiction exposé about the ordeals women suffer after being sexually assaulted—and the strength, courage and togetherness required to change that status quo.

Too much of Realm of Satan comes off as unreasonably poe-faced, which not only neuters the proceedings’ sense of giddy transgression but feels at odds with these characters’ comical bizarreness.

Super/Man: The Christopher Reeve Story paints a rich portrait of Reeve as an individual, celebrity, activist, and family man, bolstered by commentary from his children and friends and, additionally, from Reeve himself.

A zombie film unlike any other, focused less on mayhem than on grief, loss, and the quiet, tragic terror begat by the dead’s return.

What they have to say, and what’s depicted here, won’t make anyone feel more optimistic about our looming undead-avatar futures.

A hot-blooded crime story whose affectations outweigh its subversions.

Together, [Culkin and Eisenberg] make for a winning pair, balancing each other in a variety of ways that speak to the material’s larger concerns about loss, grief, remembrance and regret.

As far as celebratory backward glances go, it’s compelling enough to temporarily brighten one’s day.

The director’s latest is a distinctly cool, dynamic Soderbergian riff on Michael Powell’s "Peeping Tom" via "The Haunting," with a dash of "Paranormal Activity" sprinkled around its edges.

A socially conscious romantic comedy, and if those two modes don’t sound compatible, [writer/director] Libii does nothing to alter that impression.

Although handsomely mounted and occasionally chilling, it’s the cinematic equivalent of a one-note tweet.

You can cut-and-paste all your adolescent obsessions into a giant collage (and recruit Pedro Pascal and Ben Mendelsohn to participate in the madness), but that doesn’t mean it’ll amount to more than a messy, insubstantial grab bag of your favorite things.

It's a thriller, a heist caper, and a surprisingly moving romance all in one, and it seems destined to be one of the breakout hits of this year’s Sundance Film Festival.

A three-hour drama whose slender story serves as the skeleton for a formally exquisite examination of loss, faith, family, and connection, it's the year’s first masterpiece.

A pedestrian thriller that never generates a modicum of suspense.

Love Machina’s scattershot structure does its subjects no favors, with the film taking a variety of meandering detours until its overarching purpose grows hazy.

Pictures of Ghosts isn’t a timeline but a winding journey through remembrances of things past, and it moves with entrancing gracefulness through a history that’s near and dear to Kleber Filho’s heart.

Hit Man is hot and hilarious, a winning combination amplified by a story that gets knottier at every turn.

It’s a satisfying return to the genre from Gluck, a promising feature-length script debut from Wolpert, and an intriguing first outing from Sweeney and Powell. The two stars have the stuff; it just needs some more refining before round two.

The Mean Girls movie-musical barely differentiates itself from its predecessor.

The film makes a choice: it ignores the psychic wounds that created the witty and prickly bow in which Lebowitz wraps herself. But this approach feels exactly right, and with Public Speaking Martin Scorsese has created a fine film that may be as close as her fans will get to the book Fran Lebowitz seems unable to write.

A beat-‘em-up whose competent fight sequences are ultimately overshadowed by its unintentional humor.

It takes its time—quite frankly, too long—to deliver the gruesome goods/

[Bayona's] finest film to date, and a fitting tribute to those who both perished and managed to escape their fateful mountain tomb.

An old-school melodrama of pride, folly, and sacrifice that’s electrified by yet another superb turn from its leading man.

It boasts some of the nerve-wracking anxiety of Uncut Gems and the keenness of last year’s standout Playground, even if it doesn't eventually pull off its delicate tightrope act.