Overall, it’s a decent shot at a tall target, but real credit is due the lead actors, with Larson expanding beyond the already considerable range she’s previously shown with an exceedingly dimensional performance in a role that calls for running the gamut, and Tremblay always convincing without ever becoming cloying.

The surprise of Suffragette is how much anger and urgency it contains, and how much new material it unearths.

Racing in high gear from start to finish, Danny Boyle’s electric direction tempermentally complements Sorkin’s highly theatrical three-act study.

Tellingly, all of the film’s emotional highlights come from scenes involving the animal rather than the human protagonists and there are only very few scenes in which the two interact in a manner that feels entirely synergetic.

Offers just enough B-movie pleasure to keep genre fans busy for a weekend or two before heading from theaters to vid.

Depp's instinct for observing, underlaying and keeping things in, then letting it all out when required, pays big dividends here in a performance far more convincing than his previous big gangster role, John Dillinger in Michael Mann's Public Enemies; it's unexpected, very welcome at this point in his career, and one of his best.

Genre fans, at least, should be satiated by the copious amount of gore and viscera on display, although whether they'll be hungry enough for the next installment--all too obviously set up for at the conclusion--is another matter.

Easygoing and always likeable but hardly packed with laughs.

A Sinner in Mecca is a suitably messy mix of the gritty and the surreal, the wrenching and the transcendent, from the midst of the trek to Islam’s holiest site.

If you’re going to make an ultra-naturalistic, two-character, walking-and-talking romance that tips its hat to Before Sunrise, the film that began Richard Linklater’s exquisite trilogy, then it’s best to avoid a script loaded with contrived situations and overwritten dialogue.

Meru is an engaging and cumulatively exhilarating debut from wife-and-husband team Elizabeth Chai Vasarhelyi and Jimmy Chin.

Small-screen comic talent is all over Fresno, with key players from series including Parks & Rec, Arrested Development and Portlandia teaming up for a tale of two sisters stuck with a hard-to-dispose-of dead body. The feature, sadly, exhibits none of the smarts or agility that fuel those series.

This ungainly portrait strikes a lot of poses, as if inviting the viewer to admire its impressive cast list, fine period detailing, "cheeky" British humor, and insouciant attitude towards violence. But none of it disguises the fact that the film is also tonally incoherent, vacuous and structurally a bleedin' mess.

This material cant help but be interesting, even compelling up to a point, but its prosaic presentation suggests that the story's full potential, encompassing deep, disturbing and enduring pain on all sides of the issue, has only begun to be touched.

Director Camille Delamarre (Brick Mansions) and his collaborators have devised a few nifty sequences.

A deadly earnest polemic whose good intentions are smothered by its inept execution.

The necessity of circumstances dictates everything anyone does here and you can only react with varying degrees of outrage, anger, disgust, pity, empathy and, if you're a blind optimist, hope for something better.

With its perilous central premise and gallery of individuals some of whom are destined not to make it, you could say Everest is a disaster movie in the old Hollywood sense of the term, but it doesn't feel like one. And that's a good thing.

Knowing and funny without straining to be clever, the found-footage-style pic works better than the Duplass Brothers' 2008 Baghead, with which it has some elements in common.

Should well succeed in attracting their literally faithful audiences, although its heavy-handed proselytizing and soap opera-ish storytelling will prove a turn-off to those who don't pray on a daily basis.

Finders Keepers charts out a screwy insight into humanity that is usually only captured in the minds of twisted cartoonists.

A winning film about reconciling one's self-image with reality.

Schilling the director proves even less adept than Schilling the screenwriter, bathing the melodramatic proceedings in an overbearing musical score more appropriate for a daytime soap.

Stylish but slight, Arnby's debut feature ultimately sticks within werewolf movie conventions, adding little fresh to the form.

Making the most of its limited budget, Blood Punch is an audacious, gruesomely violent and darkly funny thriller that enjoys messing with its viewers' minds.

The Golden Cage (La Jaula de oro) is a lukewarm examination of a hot-potato political issue.

This B-movie, reminiscent of '70s era grindhouse fare, is a reasonably proficient and professional debut that fulfills its modest aspirations.

Pod has a hallucinatory quality that makes up in ferocity what it lacks on cogent storytelling.