Deeply human, full of dread simmering just beneath the surface and quietly unsettling.

When it reveals its true colors late on, as less of an examination of a rarefied lifestyle and more of an ancient story of brotherhood broken and remade, the cumulative power of all those observed moments comes through.

Court acquires its power through its thoughtful depiction of the mundane and the ordinary.

It's a resonant, atmospheric horror film that treats its genre and its audience with unusual respect, before escalating in its last moments to a brilliantly uncompromised finale.

It’s a love story set in a contemporary world brimming with immigration issues, but it manages to be neither political drama, nor bubbly romance, somehow getting away with being labeled as a comedy.

A very routine twelve rounds of tragedy, resilience and redemption, the boxing film Southpaw is a conventionally told dramaturgy high on intensity, but low on human insight or novel ways to tell a familiar story.

Despite the valiant efforts from the two leads, the only thing of value that gets robbed in American Heist is our time.

The engaging opening third of Cooties is enough to make the rest of the 96-minute film a mildly amusing diversion, but as the minutes roll by, you'll wish the brains of the film had remained intact.

Twinsters is an enjoyable ride, made with vigorous love and creativity, which is more than enough reason to recommend it. Especially to siblings.

A Hard Day is a film that sets itself fairly narrow ambitions, achieves all of them and then some and yet has no pretensions to importance, weightiness or artistic self-expression.

Mr. Holmes is not so much the story of Holmes' last case, as the story of his last choice: whether to go gentle, or whether to rage against the dying of the light.

A bland and utterly predictable melodrama desperate to hide itself as a deft character study.

Gabriel often feels like a feat, for both writer/director Howe and Culkin. It's a movie that might not be easy to watch, but is well worth the effort.

It is slow and it is ambiguous but it is supremely sure of itself, as it moves, with singleminded grace from chilly to all-out chilling.

Lindon's performance is so perfectly judged, so inspiring of an avalanche of sympathy and empathy without ever seeking it out, that we are on Thierry's side immediately, feeling every slight and every instance of condescension perhaps even more strongly than he does himself.

Gueros is as close as we’ll get to a parody of art house films while being a proud member of them.

The marketing engine of Minions is undeniably powerful. This is something craftily designed to sell toys and theme park tickets and special cans of Tic-tacs. But it’s not a movie. It’s an eyesore.

Size may not matter in this diminutive story, but the film's slight, disposable quality hardly qualifies it as an essential tale to astonish.

Two actors. Two locations. Two laptops. One bittersweet movie.

Self/less is brain/less entertainment, but if there’s any consolation, the impression it leaves is so fleeting that you can soon replace it with better movie memories.

It’s an impressive feat of unfolding this story, though there are a few moments where it loses the narrative thrust and momentum along the way. Still, it’s a remarkable portrait not only of this particular man, but of a culture in a transitioning moment: adapting to new influences and growing older, but continuing, always, to remember.

The fifth installment of the Terminator series cannot overcome the weight of its convoluted time travel leaps, its strained attempts at injecting twists everywhere, a clunky opening, and a painfully clumsy finish.

The concept of the film could have been played several different ways, from farce to high-drama to Hitchcock-ian thriller. Ozon decides to try it all, but in the end doesn’t pull off any.

Even the best routines can’t entirely raise the film from its shambling, directionless feeling, and nothing is nearly as tight as Tatum and crew’s dance moves.

Films about this particular divide don’t get any kinder or gentler, but there’s a knowing sweetness to Dancing Arabs that doesn’t come off as particularly naïve or divorced from reality, at least taking some of the false hopes of the period into account.

The Strongest Man isn't flashy, moves to it's own unique rhythms, and glides along with a very specific sense of humor. But to the observant eye, and patient viewer who decides to hop along with the film's welcoming tone, they'll witness the voice of a filmmaker bursting with ideas and a number of ways to share them, even if he hasn't quite found his storytelling footing just yet.

Measured, assured and featuring across-the-board strong performances, Glass Chin in many ways is a tiny little drama about the virtues of character. But its scale belies its heart, which is dented, but authentic and golden.

Ted 2 gives lip service to civil liberties and spends the rest of the running time picking the easiest joke to tell, again and again and again.