It may not be a complete return to form for the once-revered auteur, but as an unexpectedly chilling horror concoction defined by skillful scares, it’s a significant step in the right direction.

It’s worth the price of admission just to see Hardy’s Reggie performance, which is up among his best work. Still, the story could have perhaps used a more inspired hand at the helm.

Right up until the film’s very closing moments, in which the carefully maintained tension and tone snaps under the ratchet of one melodramatic turn too many, it is not just an absorbing performance piece, but a film of real directorial confidence and flair.

If only Carey Mulligan had been inspired to protest for the right to a better script for Suffragette, an overly schematic look at the struggle for women’s voting rights in 1910s Britain that almost gets by on the strength of a great slow burn of a lead performance.

A deliriously quick-footed and orchestrally pitched character study, Steve Jobs is an ambitious, deeply captivating portrait of the high cost of genius.

Room has unforgettable, must-witness performances, and its soulful mother and son narrative is one of the most touching dynamics you’ll see in theaters this year.

The fact is that both actors are very good, even if trapped in the amber of Hooper's overweeningly tasteful direction.

There is nothing underneath the glossy surface and no real insight into what made this man tick — and despite how creepy he looks here, Bulger was a man, not a devil.

Chloe And Theo should have been a film about Theo: a complex man taking on an unfamiliar world he is not particularly fond of, with little more than conviction and principle to help him along. Instead, we get another film where a hapless foreigner teaches white people how to better themselves.

Meru is a flawed but deeply riveting account of what happens when men walk right up to the edge of madness.

It’s clear that the Panther legacy lives on, and Nelson’s film is a necessary primer for understanding the party — in it’s own words.

Amidst this goofiness, Skrein proves a serviceable Statham replacement, capable of executing elaborate martial arts-inspired fight moves, glowering behind the wheel of his car, and generally acting like a cold, detached thug-for-hire who, deep down, has a heart of gold.

It's the best film McCarthy has ever made: restrained, intelligent and grown-up, but unfolding with the pacing and rhythm of a thriller.

Matching Fukunaga's proven storytelling grace with a story truly worth the telling, the result is explosively authentic and yet lyrical, making an utterly inhumane and alien situation both completely real and completely abstract.

Salvatore Totino's crisp 3D photography and Kormakur's way with a clear, fluid, thrilling action sequence show off the mountain in immensely impressive ways. But the humans involved get short shrift.

It’s a narrative vacuum big enough to make you mad at this melancholy werewolf drama for not being, at the very least, good.

Creep is a tiny movie whose uniqueness feels positively seismic. If there's one thing Creep has, it's an abundance of personality, and that cannot be understated.

A monologue delivered by a senator played by Richard Dreyfuss is so clunky, that he might as well have broken the fourth wall in order to make sure the audience understood that his speech was supposed to represent the a major theme in the story.

Ultimately, the main source of power behind The Second Mother is found in its effortless skips between character study, family drama, and silent socioeconomic warfare. The final result is a gleaming cinematic treasure as heartwarming as the film's final reassuring smile.

When the script isn't working, Evans turns towards the soundtrack and leans on indie rock when he can (and when the low-budget picture can afford it) to attempt to do some of the emotional lifting.

At its heart, Welcome to Leith is about change and how toxic decisions and beliefs can irreparably ruin bystanders’ lives.

Finders Keepers tries to find the humanity in the absurd, and while it surely has its share of moving moments, the conciliation of the sensational and profound is hard to reconcile.

McNamara attempts to keep the movie ticking right along, and for all its half-cocked plotlines, Ashby is able to maintain a consistently humorous and light tone.

It's a wonderful thing to experience a film unshackled from Hollywood conventionality and unburdened by the necessity for simplistic storytelling.

Return to Sender proves to be nothing but dead air, an entirely too predictable, slow-paced, and misguided genre effort.

Chris Farley deserves a film that can see him for his gifts and his flaws. So, while I Am Chris Farley is an interesting portrait of a comedian, here’s to holding out for something more.

Cary Bell’s Butterfly Girl is no reality TV show segment, it’s painstaking reality itself, told in confident style.

Ultimately too busy fracturing his story’s focus and indulging in gimmicky textual graphics to really tap into either Hollywood’s or electronica’s magnetic appeal, Joseph’s debut proves to be a film with mood to spare but nothing much to say.