Johannson turns out to be perfectly cast, being able to shift from blank alien mode to kittenish seduction without ever letting you see the switch being turned on or off.

There’s much to like, from Waltz’s performance to the typically rich production and costume design.

You Are Here is a shockingly inept comedy.

The filmmaking here is almost impossibly well-realized, right down to the evocative sound design, adding up to an fairly unforgettable experience.

It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.

There's a pleasing egalitarianism to the film's history-through-the-eyes-of-the-ordinary-man concept, but the script rarely makes the case that their versions are compelling enough to warrant a film.

Coppola's screenplay neatly restructures Franco's source material into a deceptively tight narrative, and mostly proves to be raw, authentic and often very funny.

Eisenberg does an enormous amount with what he has, proving to be sinister and vulnerable virtually within the same breath, and expertly putting across the torment he’s going through.

A sly dark comedy that doubles as a very impressive display of wordless storytelling.

It’s not exactly doing anything new, but it’s a muscular and textured piece of work that shifts assuredly through tones and genre, features a rich and rewarding performance from Cage, and another excellent turn from his young co-star Tye Sheridan.

[Fiennes] has rarely been better than he is as the 19th century’s most celebrated novelist, with his chops on screen just about matched by what he’s done behind.

A lack of courage on behalf of the filmmakers to take any position renders the film narratively limp.

Fading Gigolo is mostly an inoffensive trifle, slightly undone by its lack of focus and mishmash of genres that don't quite come together. But it's breezily told and acted, with some decent laughs and unlike many comedies these days, it actually cares and respects the characters and the consequences of what they go through.

Guiraudie creates an ambiance of eerie atmospherics that is at once crisp and observant, and oddly dreamlike, or nightmarish.

Enemy is a transfixing grand slam that certifies Villeneuve as the real deal and one of the most exciting new voices in cinema today.

Totally bonkers, hilarious and wickedly clever, The Double is special and singular filmmaking at its best.

While there's no doubt that Shepard's film is frequently laugh-out-loud funny and impressively, wittily written, with a finely tuned ear for the perfect bit of foul language, it stumbles slightly on the story side.

Like an epic sonnet, with beautiful accompanying music and songs, “Eleanor Rigby” deals with memory, perception and the emotional toll a relationship can have on an individual as much as it deals with the more grandiose themes of love and loss.

Devil's Knot lacks potency or a compelling narrative reason why anyone remotely familiar with the case needs to be watching it.

Despite the fine performances from McConaughey and Leto, tightly coiled editing that keeps the story moving and a nicely measured balance between drama and comedy (McConaughey is often a hoot), Dallas Buyers Club still sometimes feels like it's missing one more grace note.

Since the music doesn't connect like it should, everything else that is underpinned in the story by these songs also doesn't come together with the weight or power Carney surely intended.

Bad Words wants so desperately to be funny that there isn't much time left to make any logic out of the story.

Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.

The movie is sexy, in a very real, occasionally shocking way, and it's interesting to see this kind of frankness in a movie where the characters are all so young.

Enough Said is another tremendously well crafted, intelligent dramedy about people, with complicated lives, who make bad decisions trying to do the right thing.

With the cinematography and its family-centric approach, it takes what could have been a dry subject and broadens its appeal.

Mr. Nobody is simply a failure.

August: Osage County is a film of big, wild gestures, plate smashing, screaming and tears, but not nuance, and it all has the effect of leaving one deadened, not moved.