The Walk is broadly written with two clunky first acts that are saved, arguably superseded entirely, by its nerve-wracking, majestic and spectacular finish.

The use of the actress’ own archival material in 'In Her Own Words' results in a tribute to both her titanic career, and to her belief in the movies’ capacity to safeguard the past, and to maintain it long after its makers are gone.

The exuberant life and liveliness that spills off the screen and the effortless sororal chemistry between these young actresses are compelling reasons to seek out Mustang.

Hirsh Bordo’s first film isn’t ambitious in its style or structure, but it is entirely effective at communicating its encouraging message to the audience.

In Western, the filmmaking philosophy remains the same, but the subject is new and different, and the storytelling is deeper, nuanced, and honed by experience.

Anxious and tightly-wound like “Citizenfour,” with similarly shocking and disturbing content, (T)error is a gripping parallel investigation of illegitimate counter-terrorist stratagems that not only considers the moral consequences of informing, and the wider troubling landscape around it, but does so from a deeply intimate and remarkable perspective.

Pan is a cacophonous assault on the senses, all computerized cinematographic mayhem and deafening noise, and its hurried pace extinguishes any genuine character development.

The highest compliment that can be made of the movie is that it is harmless: never laughably bad, never painful, just pure mediocrity, from start to finish.

In its portrait of a strong, independent woman learning to embrace her own ambition, desires, and future via the aid of an older male mentor-cum-father-figure, it colors its triumphant fantasy of female empowerment in a distinctly conservative, paternalistic shade.

The respect that the film mostly has for Aria’s personhood, even at such a young age, gives it a keener edge than many other entries in the rather overpopulated coming-of-age genre.

Unexpected and charming, “Manson Family Vacation” is one ride you’ll want to catch.

Atmosphere and feelings can only do so much when story, and its credible beats, seem to have fallen by the wayside.

Relentlessly paced, with the volatile ferocity of a rabid pitbull, Schneider vs. Bax is, above all else, pretty damn funny. That's if you're into Alex van Warmerdam's distinctive brand of humor.

Every single one of Emmerich’s moves can be seen coming from several miles away, and yet, not because they adhere to any semblance of historical fact. Somehow, Emmerich makes a severely underserved narrative feel groaningly familiar.

The pathos of this situation is clear, the stakes, which obviously involve genocide, justice and actual Nazis, are sky high and Plummer is completely extraordinary. So why on earth isn't Remember a better film?

Gitai rightly trusts in the fascination of material that needs no sensationalism or gimmickry to command our whole attention.

Buried underneath the glop are interesting notions on reality, creation, and the nature of death. And thanks to its aesthetic, it's at least a very beautiful catastrophe.

Lolo features long stretches of perhaps her most accomplished and enjoyable character-comedy yet. But as often with filmmakers for whom a certain register comes almost too easily, Delpy seems impatient with herself and her facility for spiky, verbal sparring and pithy self-deprecating put-downs.

The real war of A War is waged within Claus, with Lindholm's camera trained mercilessly on Asbæk as he delivers yet another faultlessly committed performance, within a large ensemble in which every performer feels note-perfect.

Thanks to deplorable direction by Paco Cabezas, and a childishly broad screenplay by Max Landis, Mr. Right ends up all wrong.

With his monumental control of the camera —at times staying with characters during quiet moments of anticipation, at others panning slowly 360 degrees to envelop us in the entirety of the environment— Davies directs the most refined coming-of-age story cinema has seen in recent years.

While aesthetically it doesn’t do much to break the form, it more than succeeds in presenting Joplin as a flawed, insecure, deeply brilliant woman who, unfortunately, couldn’t shake her demons.

The film’s depiction of societal breakdown remains firmly planted in the realm of real human emotion, testing the resolve of two young women and unearthing awe-inspiring reserves of strength and tenderness in the process.

In Jackson Heights serves to remind us that our worlds are full of living things, and that, being the social creatures we are, we need each other.

Vigas' grip is so tight that even if you do get to the heart of his meaning, there's a chance it will have had the life squeezed out of it.

Cloaked in a mystifying atmosphere and possessed by a transfixing, amorphous mood, Lucile Hadzihalilovic's Evolution is a beautifully strange hybrid of innocence and disturbance.

It's Arquimedes who emerges as the film's most indelible character, aided by Francella's fabulously icy performance. Lacking even the warmth of a Don Vito, Arquimedes comes across not as a man who does everything for his family, but as a man who expects his family to do everything, even damn themselves, for him and his twisted, heartless, self-centered worldview.

Alternating immense bombast with long stretches of longueur in its psychologically questionable evocation of the formative years of a future despot, the film is formally confident, stylistically inventive and intensely irritating.