Winslet’s mix of grace, gumption and private sadness is the chief reason to keep watching, but she deserves a more dynamic film.

What might have looked intriguing on paper appears to have been largely pared away in the artsy mannerisms and loaded silences of Brit director Daniel Barber’s self-consciously elliptical treatment.

The sunny, soap-and-water characters and thoroughly upbeat message may not be the stuff great films are made of, but in Jackie & Ryan the modesty of the story, the simple story-telling and honest emotions all come together in a satisfying whole.

The idea is original enough to pique curiosity, and the small cast, led by Alba Rohrwacher and the up-and-coming Adam Driver of HBO’s Girls fame, digs gamely into the material, but something is missing.

The story's acceleration from anxiety to panic to hellish chaos is expertly managed, but more impressively, so is the control of internal narrative logic.

Niccol weighs the human toll on both aggressor and target with intelligence and compassion, while questioning whether technological warfare is inevitably destined to be an unending cycle.

Instead of complex personalities and dilemmas, we mostly get clichés.

It’s an impressive debut, an ambitious project pulled off with confidence.

This graceful, deeply affecting movie has a soulfulness and sweep that mark it as a step forward for Hansen-Løve.

Visually ravishing, emotionally wise, and kinky as a coiled rope, writer-director Peter Strickland’s third feature The Duke of Burgundy is a delight.

Rahim has a great face but isn’t given enough opportunity to make it clear to audiences what his character is going through beyond the most basic emotions.

In a movie built on the idea of walking in someone else's shoes, shouldn't learning to see others as more than stereotypes be fairly central to the plot's development?

Aniston submits an honest, sturdy performance. However, the film, directed by Daniel Barnz (Phoebe in Wonderland, Beastly) and written by Patrick Tobin, is less emotionally potent than it wants to be.

Has there ever been a Hollywood adaptation of a major novel as faithful and yet so misguided and downright strange as the three-part version of Ayn Rand's Atlas Shrugged that now comes to a conclusion with the third installment?

Dante again smoothly combines moments of romantic and screwball comedy, schlocky genre elements and an overarching retro feel for this cute and pretty efficient zom com.

Black and White never panders too easily to sentiments, creating characters who are riddled with flaws but likeable all the same.

Elba, who recruited his former Luther director Miller into the project, gives the film more dignity than it deserves, and Henson delivers a performance of complex emotional shadings. But their fine work is utterly wasted in this B-movie exploitation thriller that would barely make for passable viewing on late night cable television.

Directed with contained intensity and sharp character observation by Matthew Saville, the brooding thriller covers familiar territory but does so with sustained tension and psychological complexity.

There's a good deal of pleasure to draw from some of these bonding moments, especially among vets who haven't seen each other for years, but not enough to justify overshadowing the movie's other elements.

Skillfully edited and energetically paced, Smiling Through provides a memorable time capsule for those who miss the smart magazines that will never return.

Honeymoon is a microbudgeted horror movie that achieves some genuinely shivery moments.

Nalin and cinematographers Anuj Dhawan and Swapnil Sonawane do an admirable job profiling the experiences of their selected subjects, although some trimming of the 115-minute runtime would help tighten the narrative focus.

In the end, the film is so guilelessly unabashed about its hokum that it becomes sort of endearing in a way, and one can’t but admire the likes of Cox, McElhone and Toby Stephens as the boo-hiss bad guy for fully committing to the corn.

Lacks the potent scares and exploitative elements to truly please genre fans. But its thematic ambition and well-crafted elements mark the filmmaker as a talent to watch.

Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.

The feature-length film ultimately becomes repetitive, with the lack of contextual information about the subjects’ lives rendering the proceedings shallow.

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

Its resolutely low-key approach doesn’t make for particularly compelling drama.