Béatrice is perhaps the polar opposite of what we think about when we think Deneuve, and yet, as with all the other eccentrics she’s played, the actress grounds her through an otherworldly grace and humanity.

Narration is juxtaposed with cleverly selected and edited shots from TV and film appearances...that give Escapes the shape of a collage or a Russian doll, depending on how Fancher is telling the story.

Bronx Gothic is not a filmed performance or a pat dissection of what, exactly, the piece comprises, but a hybrid of the best impulses of those two approaches.

If one wishes to get a glimpse into Elsa Dorfman’s life and work, this is not a poor place to do it. But as a documentary standing on its own two feet, it stumbles.

If the ultimate result isn’t precisely perfect, it should serve to announce Young as a voice we ought to get to listen to more often.

A film that is heartwarming in its human-to-animal gaze, and yet crushing in its understanding of a human’s flaws.

Our Time Will Come sets itself in often-neglected, Japan-occupied Hong Kong, and offers a unique perspective on the war most commonly portrayed in film.

Mainstream summer comedies are not off to a terribly ambitious start this year and The House is one of the low points thus far.

The journey is ultimately as sweetly funny as it’s emotionally tragic.

Simply put, it probably won’t restore your faith in studio animation. But it may make you laugh.

It’s amongst the smartest, funniest, and saddest films in the studio’s history.

What we have may be Jia’s most accessible work, but the careful framing and editing that matches cuts to abrupt changes in soundscape prove to be the real treat.

Its visual precision elicits a unique mood that elevates the film from the normal, self-important teenage tale.

Morrison proves that there is no better way to tell the story of movies than with movies, and it seems almost spooky how the Dawson City reels supplied him with the material he needed.

Sick and twisted for the sake of being sick and twisted, Kuso is a certainly not a film for everyone, or perhaps anybody. I imagine the experience is like being high on something spiked with an agent that can induce awful nightmares. Though I’m not sure being drunk or high will make Kuso a delightful experience.

Despite succumbing to the seemingly inescapable monotony that pervades most final setpieces in this genre, the film exudes a charismatic quality of nimble fun with its playful direction and lighthearted lead performance.

Well-directed and fun, if not a bit too long and perhaps concerned with a plot that’s not nearly as engaging as its leads, Vampire Academy is a little smarter than your average teen adventure, but it’s certainly not Heathers or Mean Girls.

In the cinematic wasteland of January, Dirty Grandpa is a minor bright spot: perverse and subversive, if not somewhat predictable

Wright doesn’t simply apply technical precision and innovation to genre-smart storytelling — he also makes what must be exhausting work look like so much fun. And as a crime caper, heist movie, mob tale, puppy-love romance, jukebox-musical-of-sorts, Baby Driver is almost nothing but.

War of the Planet of the Apes has all the bombast and sense of finality seemingly required for the end of a trilogy, but there’s an underlying emptiness that nags with each scene.

There are plenty of characters and there is plenty of New York City in writer/director Dustin Guy Defa‘s Person To Person, but the whole thing meanders all over without ever really settling somewhere that matters.

Unfolding with a specific eye for grandeur in every space, the images resonate long after the credits roll.

Delightful at times and always insightful, In Transit contains a range of emotions and characters rarely seen, even in the best of narrative cinema.

This film’s sense of action geography and tactics is atrocious.

Night School is a triumphant and affecting film that explores the issue of inequality beyond the usual political, paternal talking points.

Lucky isn’t perfect as a person or a film, but there’s something fitting about this. Escape from his character’s situation won’t ever be clean and Kang ensures to never pretend it will.

There are many components that make Harmonium unexpectedly engrossing, but chief among them is its sense of space.

While the intent for gender equality is welcome, the execution subverts that goal.