Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.

It’s well crafted and compelling at times thanks mostly to the casts’ efforts, but there is an emptiness that permeates through the film as if a significant piece of Wilde’s demise is missing.

Jenkins has a vision and something interesting to say in Private Life, but it needs some serious editing to convey it succinctly.

Despite its ambitions, Monsters and Men makes its weighty subject matter feels thin and slight.

If only more period pieces these days were as finely tuned and accessibly pleasurable as Westmoreland’s film.

The first hour is overwhelmingly exciting as Levinson uses split screens and more stylistic techniques to make his story pop. The dialogue is also delivered in impressively natural fashion, with the leading quartet discussing subjects that capture the zeitgeist. However, the ultra-violent finale goes over the top, lacking the pizzaz and inventiveness of the film’s earlier stages.

While [Chloe Sevigny's] work is commanding and a dedicated set of tough, engaged performances from the ensemble add life to the odd legend, awkward structural choices bleed away the film’s emotional punch long before the credits roll.

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

Through Cage, the film’s straightforward revenge plot becomes a King Crimson album played at half speed and twice normal volume; a bizarre and bloody outing with a strong heart beneath the surface.

It’s an endlessly entertaining, challenging investigation of history that confirms Ruizpalacios’ status as the next big thing in Mexican cinema.

Chaganty and co-writer Sev Ohanian deliver wonders on both the technical and narrative ends of Search, but editors Will Merrick and Nick Johnson do an astounding job as well.

Overall, this is astute, fascinating filmmaking from Hawke who believes the small details are all part of the bigger picture, the deeper experience of knowing who Blaze Foley was.

Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.

As in “The Wolfpack,” Moselle doesn’t just capture the rebellions of her characters, she expresses their triumphs and joys with intimacy and detail.

From a narrative standpoint, Decker and her three writing collaborators have fashioned a reasonably compelling story. What makes the film transcendent is how she uses the art of cinema to convey it and Howard’s phenomenal performance.

Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.

Turtletaub does have a hard time finding a way to conclude Agnes’ story, but he ends Puzzle on such a delightful note of simplicity, that this near-perfect movie nevertheless stuns.

In Euthanizer, director Teemu Nikki has successfully created a cinematic metaphor for contemporary world politics, one that is full of unexpected plot developments and a surprisingly thoughtful take on personal morality.

Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.

Fisher must be given immense credit for making it all work as her performance is pitch-perfect in every respect. Sometimes, it feels like you’re not even watching an actress perform but an actual person. The way Burnham shot some of the scenes makee it feel like non-fiction rather than fiction.

Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

Leave No Trace is a universal, unforgettable experience.

It’s still evidently the work of a very talented filmmaker and is certainly never bad, but it also never lives up to its potential. Barnard has a long career ahead of her, but Dark River seems destined to be remembered, years now, as a minor work in her filmography.

The spy genre is a tricky business, because the tempo and flow of the film must adapt to numerous different scenarios and narrative changes. In Lewin’s movie, however, the ever-changing intricacies of Dawidoff’s book are rendered flat, unappealing and messy.

The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.

This is a remarkable, triumphant, and confident picture by Aster, who gives the film an almost meditative-like sensation, as you feel every space you’re in, every emotion, every moment of grief. Hereditary refuses to employ cheap thrills, creating its cinematic scares with atmosphere, and continuously reinventing itself at every turn.

All four actors are perfectly fine here, but the set-up is predictably conventional.

Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.