Delicate and unhurried almost to a fault, though also hauntingly sexy and even humorous at times.

It’s a lovely piece of work.

What makes the film so accessible despite its controversial subject matter is Wnendt’s total command of tone, which is never vulgar or intentionally out to shock.

Wit is in short supply, but director Miller at least keeps things moving briskly throughout the relatively brief running time.

An aesthetically arresting hit man story that gets by more on its craftsmanship than on its minimalist, borderline ham-fisted narrative, Salvo nonetheless marks an impressive feature debut from Italian writing-directing duo Fabio Grassadonia and Antonio Piazza.

While its provocative themes certainly bear exploring in our sex-obsessed societal landscape, The Olivia Experiment is too superficial and cliche-ridden to make them resonate, and its attempts at humor fall thuddingly flat.

While there’s much to enjoy here – particularly in the touching performance of Hiam Abbass – there’s also plenty that is cliched and forced.

Kink is quite convincing in presenting this one workplace as a happy, sane environment where people respect each other and aren't manipulated into doing things they don't ultimately enjoy. But it leaves plenty of room to presume that Kink.com is an outlier in the industry.

The picture's first-person focus makes it surprisingly uninformative and occasionally annoying.

An account of one modern expedition that draws fruitfully upon the lore of another.

It's all largely incoherent, with the screenplay's twists and surprise revelations having an utterly artificial feel.

It’s too blandly acted and directed to make much of an impact.

The director-screenwriter does manage to invest the familiar proceedings with some quirky, original touches.

This low budget effort from director John Erick Dowdle and writer-producer-brother Drew Dowdle provides a few late scares after plenty of eye-rolling setup, with said scares due more to the heavy sound design than the action itself.

Ralph Ziman's Kite repackages an assortment of genre tropes into an instantly forgettable Luc Besson-aping slog that would be unneeded even if Besson hadn't just returned to big action flicks himself.

As an exercise in style, it's diverting enough, but these mean streets are so well traveled that it takes someone like Eva Green to make the detour through them worth the trip.

An obvious labor of love, this hand-crafted film is beautifully made – photographed, scored and edited with a grubby lyricism that makes its shortage of plot momentum all the more frustrating.

There is a clear sense here that Coixet is completely out of her depth in this genre exercise, which is all excessive surfaces and no tension, however hard the music and sound effects try to tell audiences otherwise.

To Be Takei follows multiple threads without pulling any one of them satisfyingly into focus, making it amusing and even poignant, though not quite the window into its subject's life that it might have been with a more penetrating observer.

Stacy Keach provides a bit of relief from all the oppressive earnestness in his brief appearance as Mia’s grandfather, evoking a depth of feeling otherwise missing here.

Although the pacing would have benefited from some judicious tightening, much of the film’s effectiveness is attributable to the lead actors’ well-modulated performances.

Visually ravishing, thought-provoking and benefitting from just enough playfulness to set it apart from the nature-doc herd, the film is eco-relevant without being at all dominated by climate change, which is only one of many subjects discussed.

Although screenwriter John Kare Raake’s Raiders of the Lost Ark template may sometimes seem a bit shopworn, at least it doesn’t dwell too indulgently on Viking mythology, playing to the strengths of the action scenario instead.

Grashaw's convincing drama distills this underexposed world into the story of a single young man trying to survive a system designed to break him.

Though some plot elements are pushily therapeutic, they're offset by others whose novelty distinguishes Rudderless from movies of its sort.

Fails to rise above the inherent sordidness of the subject matter. It’s indifferently acted and directed, though it generates a measure of suspense and queasy fascination.

Less an introduction to the green-burial movement than a portrait of one man who embraced it after being diagnosed with a terminal illness, A Will for the Woods is more sentimental than journalistic.

Though individual scenes feel authentic, the overall structure’s rather loose and there’s not a single narrative throughline. This has several advantages... But it also somewhat diffuses the film’s focus.