The best feature film directed by someone named Coppola in a number of years.

After a terrific first hour that crescendos in an extended sequence of quiet yet potent white-knuckle suspense, the film loses some traction in the more challengingly paced second half. But it remains an engrossing reflection on radical violence and its fallout.

What undermines Moebius is how Kim has let high concepts and philosophical subtexts run amok without anchoring them to a substantial narrative

Where it really works is in Cage's bone-deep characterization of a man at war with himself.

A career high point for Ralph Fiennes as both an actor and director, this unfussy and emotionally penetrating work also provides lead actress Felicity Jones with the prime role in which she abundantly fulfills the promise suggested in some of her earlier small films.

The most compelling thing here by far is the film's vision of Assange, by all accounts a man of enormous self-regard and slippery ethics. Benedict Cumberbatch has the character in hand from the start.

Fading Gigolo features enough strange narrative turns and modest laughs, not to mention a substantial role for Woody Allen as a very unlikely pimp, to provide a measure of curiosity value.

Stranger by the Lake invites you into its alluring and peaceful world, only to gradually uncover the darkness beneath it.

Hitting all the rom-com notes with wit and some charm, it'll be a crowd-pleaser.

More than a thriller, this adaptation of Jose Saramago’s novel The Double is an absurdist-existential mood piece – and a very dark mood it is.

Richard Shepard’s film is far from dull, but it just doesn’t feel like the real thing, more like an artificial construct inspired by pumped-up crime favorites from a couple of decades ago.

Intense and engaging performances from Jessica Chastain and James McAvoy bring the well-written screenplay to life.

What distinguishes Borten and Wallack’s screenplay is its refusal to sentimentalize by providing humbling epiphanies to set Ron on the right path and endow him with empathy.

The film’s quiet pleasures creep up on you.

A Strange Brand of Happy is being billed as a “faith-friendly romantic comedy,” but its overall ineptness has the inadvertent impact of making you lose faith in romantic comedies altogether.

While the exact secret to the film’s high-grossing recipe remains a bit of a mystery, it probably has to do with the good-humored chemistry between the unlikely partners, pushing the limits of censorship in the sexual-innuendo department, and a well-written off-the-wall script that makes audiences laugh out loud.

This is Holofcener’s sweet spot, the depiction of the emotional confusions, self-deceptions, uncertainties and misguided decisions that can cloud and get the better of otherwise bright, aware people, especially the female characters she tends to specialize in.

The force of Darby's personality -- a rich stew of righteousness, arrogance and self-delusion -- gives the doc a psychological appeal independent of politics.

Wells directs the actors smoothly enough in individual scenes, but his work lacks the cohesiveness to really pull all the characters together and convey their shared past.

The Railway Man is well-acted and handsomely produced, but its honorable intentions are not matched with sustained emotional impact or psychological suspense.

Their inside jape is unfortunately not as much fun for the audience as it may have been for the filmmakers, though it does have its piquant moments. But it’s not consistently entertaining enough either as a spoof or as a thriller.

Mademoiselle C should please fashion devotees while leaving everyone else scratching their heads.

Setting aside the movie’s tediously lame dialogue, self-conscious performances and frequently predicable scares, the narrative’s compulsively shifting chronology intermittently manages to engage, although it does little to obscure the distracting shortcomings of both plot and character development.

A very honest film from a great Japanese artist.

Crisply shot and edited, with effective use of Ashutosh Phatak’s graceful music, this is a powerful documentary that demands to be seen by as wide an audience as possible.

It’s all utterly silly and derivative but also undeniably entertaining.

The last couple of years in one tragically truncated life are chronicled with a winning combination of sensitivity and humor in I Am Breathing.

At once heartbreaking and uplifting.