An uninspired movie, The Drop would be utterly forgettable if it weren't for the fact that you’re left wondering how all this talent created something so unexceptional.

Michael Almereyda’s Cymbeline works best as a cautionary tale concerning the dangers of of believing that everything written by The Bard is “timeless.”

A missed opportunity that squanders the talents of a pretty stacked cast and jeopardizes the audience’s patience and care for its spoiled characters for too long.

The Judge has the curious ability of straining too hard while managing to say nothing dramatically.

Frustratingly uneven, Kelly & Cal is too glib and prosaic to truly be insightful or impacting.

Wetlands is more than just a film that shares far more about anal fissures than you ever wanted to know; it’s a surprisingly sweet coming-of-age comedy brimming with punk-rock energy and an impressive performance from Swiss actress Carla Juri.

Wild never really earns its hard-fought struggle for redemption and personal reinvention.

There are jokes that land, and every time Kathryn Hahn steps on screen the film threatens to tilt on its axis and point toward a truer north.

99 Homes is by no means a perfect film, but it can achieve something more precious, and rarer than glossy perfection: it can take you by the shoulders and shake the apathy and complacency away.

The Imitation Game is entertaining and well-crafted, but one still can’t help but wish the drama had a bit more bite and nerve throughout.

For filmmaker and actor, even on those occasions when Manglehorn’s risks do not pay off, we have to credit the courage and confidence it took to attempt them; but more often than not they pay dividends and the result gently dazzles.

It offers a handful of effective moments and some characters that are fun to watch squirm through muck and bones, but not much more than that, especially when the films spins out of control towards its conclusion.

For better or worse, torture-themed films don’t get too much easier to take than this one.

The film does not stab as deeply in laying bare the schizoid moral hypocrisy of the perpetrators of the Indonesian genocide as its peerless predecessor, but instead offers an extraordinarily poignant, desperately upsetting meditation on the legacy of those killings, and on the bravery required to seek any kind of truth about them.

It’s borderline miraculous.

Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.

While it features characters making unrelatable decisions, this 77-minute film is nonetheless compelling and beautifully constructed.

Gibney never quite finds Fela, and the quest isn’t always remarkable either, but such is the spirited brio of the seminal subject that some of his dynamic essence still shines through.

For a first time feature outing, Coldwater is a fine effort from Grashaw, and the setting feels fresh and new. It's an original take on a coming of age, young masculinity tale, but ultimately, it doesn't quite live up to all of its potential.

As far as the spy genre goes, Pierce Brosnan’s The November Man is more filler than thriller.

It's a remarkably gorgeous piece of work.

Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.

While the story lags and suffers in its attempt to adapt such a complicated internal narrative and personal struggle, the Smith brothers have created a truly beautiful and unique film that deserves to be seen; a creative accomplishment not only of filmmaking but of capturing this world.

If you’re not looking for reinvention and loved the first "Sin City," then you'll probably love this one too. It's a gorgeous-to-look-at, brain-splattered case of "more of the same."

In the new documentary To Be Takei, it becomes clear that Takei is a man who defies expectations and subverts stereotypes at virtually every turn. It’s just a shame the movie wasn’t as progressive as its subject.

The theories in Level Five simultaneously thrive in realms of computer science, ethnography, and cognitive psychology, while the picture remains cloaked by the emotional weight of a historical tragedy that marked an entire nation.

Metro Manila is a horror story in its own unflinching way.

It’s an ambitious and strong first start for Macy’s filmmaking career as he’s clearly taken a note or two from some of the great filmmakers he’s worked for. Don’t let the title of this film fool you—Rudderless is solid.