The story is scarce to non-existent, but Kim Min-hee in the main role keeps the audience awake, waiting for her next socially uncensored outburst of truth.

Amusing but slight, the small-scale film is elevated by a spirited characterization from Geoffrey Rush as mercurial artist — is there any other kind in movies? — Alberto Giacometti.

Shocking and enraging, funny and surreal, rapturous and restorative, this is a film of startling intensity and sinuous mood shifts wrapped in a rock-solid coherence of vision.

It’s hard not to be both moved and slightly blown away by the plight of these birds.

Canet manages to deliver a fresh celeb satire here that doesn’t shy away from the uglier side of star power, with “uglier” taking on various meanings as the script (co-written with Philippe Lefebvre and Rodolphe Lauga) heads to some outré places in the last act.

Van Cotthem's performance is wholly convincing, which might not be something to brag about, and the film flatlines right along with him.

Though the shifts can be abrupt, the film provides an overview of a huge topic with admirable concision.

The film's last act grows more enjoyable by the minute, observing as the teacher stands up not just to his tormentor but to everyone else who might want to demean him.

Despite the strong efforts of everyone involved, Havenhurst proves all too unimaginative in its formulaic recycling of genre tropes.

Mary Mazzio’s eye-opening documentary reveals that the buying and selling of tweens and teens, long recognized as a plight in some developing nations, is also very much a domestic problem.

The lead performers deliver faultless performances, and are certainly not tough on the eyes. But their efforts are not enough to lift this moody erotic thriller above its pretensions.

Moore displays a low-key deadpan charm and Zima, although a little too prone to constant giggling, is sexy and charming. But by the time the film is over viewers are likely to wind up feeling like they've been stuck in traffic themselves.

The picture hits many of the expected schoolyard beats with just enough specificity (the vegetarian boy's first encounter with fried chicken, for example) to keep it from feeling generic.

Leonard and Foley offer enough semi-naked sex scenes here to prove that quantity is no substitute for chemistry.

Amateurish on many levels and at some point seeming to have been made up on the spot (which would be quite a feat for animation), the collaboration between directors Thorbjorn Christoffersen and Stefan Fjeldmark is a strong contender for the year's worst film, and not in a fun way.

The writing/directing debut of Minhal Baig enlists experienced actors but has little idea what to do with them, making a hash of its intended meditation on the compromises required by long-term relationships.

Viewers who don't mind the lack of dramatic tension may appreciate Dorff's credible take on his modest, gentlemanly character.

The movie is well acted and mostly absorbing, but it spells out everything so painstakingly that there's zero room for subtext.

Over-produced and under-thought-out, this unconscionably elaborate attempt at an old-fashioned Gothic thriller looks great but is beyond silly.

Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.

If it had skipped the clichéd supernatural elements to instead concentrate on the relationship between the two central characters, Don’t Knock Twice might have emerged as an interesting film.

A good-natured cross-cultural romp in which you can barely be expected to take any human interaction seriously, save for those in which humans smack up against each other with force.

The film handles its admittedly familiar themes in uncommonly sensitive fashion.

A fascinating if uneven portrait.

Kedi eloquently taps into the mutual attraction between the cats and their people, as well as the animals’ complexity and resilience.

Although there is still much to enjoy here, this DC Comics-fueled Lego adventure fails to clear the creative bar so energetically raised by co-directors and writers Phil Lord and Christopher Miller back in 2014.

The film raises more troubling questions than it answers, but it's fascinating throughout nonetheless.

There is not a lot of risk-taking involved in the visual storytelling or in trying to find a cinematic equivalent of the novel’s style, making In Dubious Battle a rather classical period piece for the most part, though one with at least one very solid performance at its center.