The film is luckily powered by a powerful trio of performances at its core, and a unique, unpredictable structure that constantly reframes the action in a compelling way.

Unlike most movies that use the current economic crisis as a dramatic backdrop, Healy's character is vibrant enough that the audience can make an easy connection and go through the journey with him.

In Buster’s Mal Heart, many of the intriguing thematic ideas in the first half of the picture, are left adrift in favor of trying to keep the audience on its toes.

The Covenant is so self-assured in its noble filmmaking values and beliefs. It makes a knowing nod between two men— and the heroically punishing sacrifices they risked for one another— one of the most moving moments on screen this year.

Perhaps due to its rote, by-the-numbers story, all of the original film’s less tangible, hard-to-bottle qualities are absent: its delightfulness, its playfulness, and its natural charisma.

Through Brown and especially Hall’s fully committed performances, scenes like this and “bless your heart,” which move in both potent and profound ways, gives the ropiness of Honk for Jesus. Save Your Soul. enough depth to pray for the arrival of Ebo’s next feature.

Despite its pedigree, “Downton Abbey” remains the fanciest of soaps — the kind that Martha Stewart and Oprah Winfrey use — but it’s still a soap. There’s drama and dalliances, and it would all seem so silly if it weren’t for its setting, cast, and budget. Some plot elements are so ludicrous that they earn giggles, but Fellowes makes it so purely enjoyable that it’s hard to complain too much.

It’s pretty banal, but in the anything-but-banal catalogue of Cronenberg films, that gives it its own weird, sincere charm.

In the end Piercing seems more interested in aesthetic playfulness than getting the most out of these characters. Playing towards comedy helps some of the more freaky scenes go down, but that’s not a substitute for substance.

What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it

A Coffee in Berlin is watchable and far from dumb, but the film embodies Niko's lack of clarity to the point where it hurts the picture.

When even momentary flourishes of action this good remind us how poorly filmed and choreographed most modern action films are, it is hard not to recommend Atomic Blonde on that basis alone.

Both fascinatingly theatrical and thrillingly cinematic, a picture that's lingered on our minds more than we expected.

California Schemin’ is an impressive calling card that suggests McAvoy shouldn’t make this project a one-time wonder.

"Well Groomed" is not revolutionary cinema by any means, but it certainly is enjoyable; and sometimes, an adorable documentary about competitive creative dog grooming is exactly what you need.

Even the most egregious issues of the film are quickly forgiven when Marks and Liberto are on the screen. Prepare to be delighted by their interactions and relationship, transporting you back to the times you would needlessly drive long distances on impromptu adventures just to spend time with your best friend.

“Five Foot Two” is mostly about a woman pushing forward with her career in pain, and we’re talking chronic literal pain.

I'm Carolyn Parker isn't so much a movie title, as a "Spartacus"-like shout that, if we all embraced, would make us a better people and country.

In Between Dying is a powerful parable of spiritual awakening.

It’s intense as hell, and a supreme example of how the morally repugnant can be made to look weirdly beautiful.

While 'Les Mis' ends terrifically, it cannot make up for the largely uneven experience that comes before it. There is no doubt an abundance of passion and commitment in Les Miserables but when the musical isn't connecting emotionally -- which is at least half the time -- it's a lot of blustering sound and fury that could either use a dialogue break or an edit.

Although some of the emotional and familial nuances are omitted here, as is any attempt to recontextualize the group and its legacy in hip-hop today, the movie has a bounce and a buzz the entire time, as though the frenetic surplus energy of the ’90s had finally found a place to go.

There’s certainly necessarily nothing off with Diane Von Furstenberg: Woman In Charge in terms of its craft, its breezy structure, its slick pace, etc. It’s a handsomely made documentary, but it always borders on fawning puff pieces, letting us into the life of the fashion mogul but still making you feel like it’s a surface portrait meant to resell something vintage, like a classic dress everyone already knows and admires.

A noir-tinged, noose-tightening ordeal [that] confirms Antonio Campos, if not the entire Borderline Films outfit, as a filmmaker/team to be reckoned with.

Knock at the Cabin does not disappoint. It’s a movie that reminds us why Shyamalan is one of contemporary cinema’s greatest alchemists and a prime example of a filmmaker at his best and boldest.

The result, while featuring some superbly non-sequitur moments and gags, feels forced into a road trip package caught between self-awareness and naivety.

Condon’s conducting of the whole affair is technically competent … dazzling, even, in sections. But all that flashiness is not blinding enough to conceal the gap between the tune it sings and the routine it dances. That is to say: Kiss of the Spider Woman may be about movie magic, but the film itself isn’t always magic.

Carefully balancing stereotypes with tasteful comedy, De Felitta has his three leads and a generally refreshing screenplay to thank for making Rob The Mob a joy to watch.