A quietly effective thriller with a few clever narrative tricks up its sleeve.

The filmmaker, who co-founded ADI with his wife Jan Creamer, documents the dramatic developments in compelling cinema verite fashion.

Gori Tere Pyaar Mein’s characters are so engaging, and the stars complement each other so well, that it’s easy to overlook the film’s faults and wish the best for them.

Weekend of a Champion begins as a motorsports movie but ends up a portrait of two wily elder statesmen who have survived into their seventies by skill, stealth and sheer luck.

Director Matthew Vaughn strikes an energetic balance between cartoonish action and character-driven drama... The mix grows less seamless and the story loses oomph as it barrels toward its doomsday countdown, but the cast’s dash and humor never flag.

It’s a relief to report that the final film is actually quite charming, thoughtful and as cuddly as a plush toy, albeit one with a few modern gizmos thrown in.

The doc happily devotes most of its time to a stylish, energetic account of Hanna's career to date and the impact it has had on a generation of women.

Although a bit too leisurely and featuring a few too many interminable group therapy scenes, the film nonetheless succeeds in packing considerable dramatic impact thanks to its incisive characterizations, realistic dialogue and well-drawn milieu.

A compact, effective thriller set in way-rural Ireland, Jeremy Lovering's In Fear makes the most of three actors, a car and a network of narrow roads winding through the woods.

Insidious co-creator Leigh Whannell’s economical script vividly reimagines Elise’s motivations for using her “gift” to aid the demon-afflicted while providing a clearer plotline that avoids many of the convoluted indulgences of the first and second episodes.

The Purge: Anarchy efficiently exploits its high-concept premise while delivering far more visceral thrills than its predecessor.

This carefully-crafted tale of collective psychosis, satanic ritual abuse and pseudo-science, starring Ethan Hawke and Emma Watson, is satisfying as a compact, if over-cautious, horror-tinged psychological thriller. But it's most interesting beneath its polished, doomy surface, where complex concerns about the cultural origins of our fears are skillfully explored.

Ai Weiwei: The Fake Case is a professional, straightforward example of the behind-the-headlines sub-genre, executed in slick high-toned digital video and eschewing the soundtrack music so ubiquitous in documentaries nowadays.

You laugh in spite of yourself in This Is Where I Leave You, a potty-mouthed comedy with enough exasperation, aggravations, long-standing grievances and get-me-outta-here moments of family stress to strike a chord with anyone who’s ever had to endure large clan gatherings that might have lasted a bit too long.

In his most effective full star turn in perhaps a decade, Kevin Costner dominates as the greenhorn general manager of the beleaguered Cleveland Browns.

Melfi comes up with any number of good and effective scenes and there’s plenty to enjoy in the performances.

At its best, the movie achieves a broody dazzle, even as the narrative proves less memorable than one would have hoped. But the fluency of Mann’s direction and the slow-burn chemistry between Chris Hemsworth and Tang Wei counterbalance the more ordinary, and not always involving, procedural elements.

A delightfully old-fashioned kid’s flick with a meaningful message.

An affecting drama made more poignant by honest-feeling autobiographical elements.

Gina Prince-Bythewood’s entertaining music-biz melodrama is no less satisfying for the familiarity of its soapy trajectory.

It makes savvy use of the well-worn found-footage format, modulating its creepy scenario with considerable skill.

Adapting their highly successful stage version to the screen with keen comic-timing but much less cinematic panache, Mathieu Delaporte and Alexandre de la Patelliere offer up a lively take on love, friendship and baby-naming.

Journey to the West may not rank among Chow’s classics, but it’s a crowd-pleaser that also serves as a reminder of what the director can accomplish when he’s on his game.

The young Spanish director Eugenio Mira and his American screenwriter Damien Chazelle have fun paying homage to the pulpy potboilers of yesteryear.

The tone veers into film-fan geekery in places, but Jodorowsky is such a natural showman and irrepressible egotist that his ancient anecdotes never become tedious.

Only fitfully does the film manage the kind of lift-off as that achieved by Pynchon's often riotous 2009 novel and, most disappointingly, it offers only a pale and narrow physical recreation of such a vibrant place and time.

Renner appears completely immersed in his role and when the clouds of doubt accumulate and the man becomes a professional pariah, it's a painful thing to see.

Like his erratic protagonist, Gilroy doesn’t always know when to settle down or call it quits, and the film’s constant shifts of tone can grow tiring, even if the action as a whole never gets boring.