John McNaughton’s return after too many years of absence is a dark look at the nature of overprotective parenthood, and how volatile it can become under particularly difficult circumstances. With that said, you’d do well not to take The Harvest too seriously but more, like its deliciously simple and 70s B-movie horror title suggests, as a wickedly fun time.

At its heart, Raiders! is an underdog story, and as with any underdog story, it becomes even more compelling as the stakes are continually raised against our heroes.

A stunner of a directorial debut.

Katz, with the help of an inspired cast and an emotionally intelligent and mature screenplay, has succeeded in depicting the trials and tribulations of adults who, all for respectfully different yet equally weighty reasons, often make a three-year-old the most mature person in the room.

Dior And I succeeds in bringing this exclusive world down to earth, knitting the viewer with its needles and threads and making a highly relatable story, no matter where you come from or how you feel about fashion.

Though Manos Sucias, like the compelling local songs used to supplement the melancholic mood, often feels like fragments of a picture glued together by a temporary adhesive, the experience will leave you believing that you've just witnessed something very real and, even with its all-too-short running time, still manages to pack quite a punch.

It roars to a bitterly funny pitch every so often, but from the lack of life in the picture and such a stacked cast, you get the sense that the lunch breaks between filming resulted in more adventurous storytelling than the events that made it into the final cut.

In noir, nobody is certified as who they claim to be. Boyle magnifies that aspect with a lean and gripping thriller about isolation, strangers, and the consequences of fame that satisfies despite some minor plot bumps.

While the experiment itself is fascinating, the approach taken by Almereyda in using distractingly peculiar storytelling techniques only succeed in distancing the audience from the film's inspiration.

The acting and the direction shows enough promise to keep it from being buried alive, but it might not be the worst idea to put it out of its misery and ignore it.

If DreamWorks Animation is hoping to get back on track with this movie, a lavish sci-fi comedy based on a recent children's book, they're pretty much doomed.

This is one of those films where the less you know going in, the better. It’s fair to say that some genre elements start to bubble up and then pretty much burst to the surface by the film’s end, all while remaining a romance at heart.

A dumb, loud action movie that aspires to forcibly entertain and provoke thought but fails miserably.

Can't Stand Losing You lacks that sense of the three dimensional when it comes to documenting the band, presenting a sanitized, bird's eye view of their history

The sequel to “Divergent” is the cinematic equivalent of the KFC Famous Bowl: a nutritionally devoid mishmash of elements and past films that somehow manages to be less than the sum of its parts once cobbled together.

It's an absolutely horrible, amateurishly assembled comedy that is more offensive than just about anything we've seen lately, a non-stop parade of racist, homophobic bile that would be bad enough from any comedian, but coming out of Ferrell and Hart has the effect of watching a childhood hero committing some horrible act.

What makes Amour Fou a fascinating, if at times frustratingly idle experience, is that it seems to be saying so much with its upfront style, injections of black humor, and focus on stifled feminine disposition, yet still feels disappointingly unresponsive when mulling it over in your head.

Feig's commitment to the genre, and some truly wonderful set pieces, make Spy as lovable as its main character.

A protagonist of stunted emotional growth is simply assumed from Apatow at this stage, but Schumer’s perspective and voice translates to a wealth of gags that breathe new life into the idea.

Cacophonous, gratuitous, and peppered with absolutely outstanding action sequences, Furious 7 finds the franchise at an unwanted crossroads, but it makes such a play for the diehard fans that it leaves everyone else at somewhat of a loss.

There are a thousand stories to be told in the studios where these session players cut some of the greatest records of all time, which makes it disappointing that there isn't more to be found in the documentary The Wrecking Crew.

For those willing to invest in the lives of these characters, even if the framework around them directly and without apology guides them toward inevitable tragedy, they will experience a drama of deep, genuine feeling.

A film that double-underlines the fact that Collet-Serra knows exactly what to do with Neeson's on-screen persona in what is ultimately their most satisfying film yet.

Erlingsson has delivered an attractive slice of Icelandic oddness that confirms many of the cliches about that country’s offbeat outlook, but in a good way.

Big Game comes away with the distinction of being watchably terrible. There is a certain ridiculousness that is engaging, but this shouldn't be confused for merit.

Marfa Girl is not going to convince Clark’s detractors, nor will it disappoint his fans, as most of what people consider his trademarks are in place.

Unfinished Business is the type of movie that is so awful that as it rolls along (its 91-minute runtime feels agonizing) you get more and more restless.

Uninspired films utilizing cinematic devices that felt old decades ago are a regrettable part of the cinematic viewing experience, and The Forger squarely falls into this category.