To say Any Day is a bad movie doesn’t go far enough, because it’s not just bad. It’s frustrating, it’s a slap in the face of filmmakers still struggling to get a project greenlit, and it makes me wonder how so many recognizable actors came to be involved in such drivel.

The Nightmare can be deeply distressing and blood-curdling, and it can be a little silly, too.

There is genuine warmth and heart to the central relationship, and the script is occasionally funny, though it draws smiles more than laughs. But it's hard to see, beyond the gender swap, what LaBruce is saying here that Hal Ashby didn't cover more definitively four decades ago.

Comedy enthusiasts will love the look back on the groundbreaking magazine, its talented players, and the way the doc captures its irreverent spirit.

Set to a rock-and-roll soundtrack, with titles featuring the bright colors Iris adores, Maysles' documentary is energetic and vibrant. Iris is the cinematic equivalent of a party, with its titular character as its host.

Well intentioned and commendable, Tim Blake Nelson’s film does not put his dialogue or writing strengths into question. But movies have to convince us on myriad levels, and this can be tough enough as it is.

Romanowksy has gamely hacked through Elliott’s purposely messy and tangential material to craft a workable portrait of pain and addiction, one that’s bizarrely entertaining even in its most brutal moments, good enough for at least one hit.

Handsomely mounted, this is a period drama in which both unspoken demands and stated appetites drive the emotions that simmer below the surface from the first frame. And though this doesn’t transcend what you might expect from the genre, few movies are delivered with this much craft and care.

Too transitory and too undemanding to be termed a mindfuck, for Reality minditch seems about right, and it's one you even occasionally get the pleasure of scratching.

Strangerland starts off promisingly enough, but it just can't decide where it wants to go, or even how to get there.

Lafleur maintains a bouncy, consistently funny tone that you'd describe as featherlight, were there not real weight grounding it all. It's a near-miraculous trick, and evidence of the immense talent on display here: he has a real talent for making comedy work visually, and as you might expect from a former editor, a sense not just for landing a joke, but for creating a unique and distinctive rhythm.

Gemma Bovery attempts to bring new heat to an old story, but mostly winds up cooling on the sill.

The film is rife with contrivances and clichés, but it engages with them in a respectful and clever manner, enough to sell even the silliest ideas. Man Up knows what it is, and the result is unexpectedly refreshing and exceedingly charming.

Maggie is not your standard zombie movie, and while it tantalizingly puts action hero Arnold Schwarzenegger into the lead role, the film is actually low on setpieces, and instead is a ponderous, sombre take on the genre that may leave those looking for a traditional horror flick disappointed.

Giroux’s film is a quietly moving drama that can be a little too quiet and slow at times, but it deserves credit for never jumping into melodrama.

While Dirty Weekend may not quite live up to its title and is certainly his least tart effort to date, the film's milder flavor and less acidic aftertaste is mostly a pleasurable switchup.

A weird, uneven mixed bag, there’s much about Mojave that’s paradoxically maddening and doesn’t really add up. As the movie plot becomes less interesting and more straight-forward — like a slasher movie with the evil antagonist character slowly closing in on the hero — it becomes funnier and more purely enjoyable.

For all its bluster, end-of-doom stakes, gravitas and super-seriousness, what Whedon’s movie does best is communicate its concern for the all the human beings touched by this story: the broken, nearly shattered heroes, their extended families and even the civilians caught in the crosshairs.

Aloft and its icy landscapes and feel of gently dropping barometric pressure can only distract so far from what is essentially an overwrought melodrama that here and there tips over into heavy-handedness despite the restrained beauty of its images.

A sour, tedious and derivative film that doesn't just prove disappointing in its own right, it actively makes us resent the first film retroactively for inspiring it.

It's ultimately a convoluted, muddy (both literally and figuratively) and overlong bore that takes an intriguing premise and does absolutely nothing with it.

Throughout, in an approach that gets close to the workers, activists, and more who help the staff at Hot And Crusty, Blotnick and Lears excellently merge the personal and political, but in a manner that never feels like it's proselytizing.

Tiresomely told, uninteresting, and turgid, Electric Slide is as insipid as it gets — a meaningless movie about almost nothing at all.

For a movie that rides on a well-executed, modest and at times playful B-movie engine, the film stumbles in its final third, with goofy plotting... and a turn from the subdued to the hysterical.

While it conjures up a winning swirl of themes, lines and images as it unfurls, one suspects that Schwartzman’s considerable talents are compensating for some core deficiencies.

While perhaps not perfect by Farhadi’s standards, About Elly is a classic tragedy that can be devastating and draining, and in that sense is an immersive, almost emotionally exhaustive experience.

There is enough in 6 Years from Farmiga and Rosenfield’s performances to warrant a watch, and Fidell’s ideas and subtle developments around such a challenging story are heartfelt and mostly well-rendered.

Black Souls is a solid example of the recent string of Italian mob dramas that utilize a somber and reflective tone as opposed to the more flashy and stylized approach of American crime epics.