Incorporating elements of drama and suspense, Passon’s pic avoids directly confronting her heroines' covertly sociopathic tendencies, preferring to view them as the outcome of internalized trauma rather than criminal intent.

It’s unlikely to be remembered with any great fondness by all but Almodovar diehards, its self-regarding inwardness suggesting that he’s struggling, as his hero is here, to find something new to say.

A drama of such searing human empathy and quotidian heartbreak that its powerful climactic scenes actually impede your breathing.

An infectiously enjoyable slice of knockabout nostalgia that wears its Trainspotting heritage proudly on its rough-edged tartan sleeve.

A lifeless, tone-deaf variation on Invasion of the Body Snatchers. ... There’s just nothing going on here with which to engage your interest, nor is there a single moment to even slightly increase the viewer’s pulse rate.

Though handsome in style and admirable in ambition, this sprawling neo-Western never comes together as a satisfying whole.

Unfortunately, the themes don't resonate in sufficiently powerful fashion to compensate for the film's sluggish pacing and strained melodramatics.

The picture fares better at finding occasional moments of warmth than at convincing us of its characters' reality.

Miki Wecel's film will prove fascinating not only to animation and Vincent Van Gogh buffs, but to anyone interested in how the creative sausage is made.

As a fantasia on the making of Elton John, Rocketman at the very least commits wholeheartedly to its flashy eccentricity, and for many, that will be more than fun enough.

A lot of ideas about class, post-imperialism and spiritual values peek up out of the surface of the text, but they're not developed with much rigor compared to what Diop conjured with more intensity and less time in A Thousand Suns. All the same, this is a striking work.

This is an affecting, admirably disciplined first film, one that patiently enfolds you rather than pandering for your attention.

Slight but quite amusing ... But despite a few good gags and committed performances, the nagging suspicion that this eccentric concept would’ve worked better as a medium-length work or even a short remains.

The film itself is not very deep, but for a comedy it has some striking moments, like its canny description of how public opinion can turn.

As talented as Yara Shahidi and Charles Melton are individually, they don’t have much chemistry.

Though it starts uneventfully, the doc perks up in its second half, highlighting the kind of practical headaches nearly no other artist in the world has to contend with.

While some will embrace the shards as a Shane Carruth-like brain-teaser, the movie is ultimately too reflective of its genetically-engineered subjects — soulless under an entrancing veneer.

It’s a minor, but most edible, bloody bonbon.

Mayfair's picture feels like the work of a seasoned veteran rather than a newcomer, but this isn't necessarily a compliment. It's sensitively poetic and tremulously delicate to a fault, with every beat seemingly accompanied and underlined by an intrusive score from Ton That An which is heavily freighted with plangent strings and mournful piano notes.

The filmmaking here is plain, prosaic and earnest. For some, just getting worked up all over again about capital punishment will be enough, but without flair or fresh insights into its chosen subject, this just seems like spinning more wheels about on oft-discussed subject.

A Faulknerian look at domestic violence, self-destructiveness and faith set in a small Louisiana town, its cinematic style owes something to Terrence Malick — though this spare, 77-minute debut has none of the meandering self-indulgence of that auteur's recent work.

Fiske and Hallin show, over the course of their very affecting movie, how this naive analogy both complements and conflicts with the ups-and-downs of Gemma's reality.

It's as stylistically straightforward as concert films get, but should play well to fans in its limited theatrical release as it simultaneously arrives on digital platforms.

Awkward execution and technical imperfections prevent the film from having its desired emotional impact.

An epic of choreographed mayhem that expands the Wickiverse in mostly pleasing ways, it is destined to satisfy fans of this surprise-hit franchise: If its ludicrous aspects bug you, what the hell are you doing here?

Fascinating and insightful if also (perhaps necessarily) somewhat checkered.

Game Girls doesn’t really go beyond its fly-on-the-wall approach to its heroines, offering us lots of intimacy but nothing that really sets its story within a greater social or political context.

The gritty environment and the non-pro cast are convincingly directed by Marlin, a native of Marseille, particularly in the pic's stronger second half.