Leconte’s never been the edgiest of filmmakers, but A Promise is so free of anything close to an edge that it’s like watching a beige sphere for ninety-odd minutes—and it feels much longer.

The strength of Goodbye World is that it understands the foibles of these characters and lets them be as flawed as they are while they are also trying to survive not just the apocalypse but each other.

It fails to convince, and succeeds only in frustrating.

Buzzard is a quiet, introspective film, but it trumps all generic blockbusters in that it very much is a roller coaster ride, one that thrills, upsets, and makes one queasy, all in surprising ways.

It's certainly his best film.

Sabotage is perfectly acceptable by it's peculiar standards, the action skillfully rendered but the scarcity of character development and perplexing ethics make the picture an uneasy watch.

What makes Joe Berlinger’s riveting new true crime doc Whitey: The United States vs. James J. Bulger such an eye-opener is that it isn’t just about a bad guy who did bad things, but the layers of corruption and moral ambiguity that stacked up on both side of the law.

Heralding the arrival of Seth Fisher as a voice to watch, Blumenthal is much like its characters: a frankly funny and original piece of work.

There is enough of a simple charm to A Birder's Guide To Everything that there are worse things you could do with your hour and a half. The lead teens in particular give the material a realness that may not have been there on the page, and the filmmakers know enough not push the quaint story beyond the safe parameters it operates in.

When focused on the natural world and the internal thoughts of its characters, Noah positively crackles with the energy of a filmmaker inspired by a new perspective on classic material... But the latter half of the film, turgid and hamfisted throughout, cripples the film so severely that it makes one thankful for the added elements to Noah’s story.

Featuring two exceptional lead performances from these two boys, first rate beauty-in-ugliness photography and an unusually extraordinary command of tone, Carbone’s picture skillfully articulates the inexpressible.

This is a unique, strange, unforgettable film, a half-remembered dream that will trouble and beguile the subconscious long after you’ve moved on.

With its rock doc trappings, it’s impossible to ignore that Mistaken For Strangers delivers on that front, with thrilling and candid on-stage footage that allows the band’s music to come alive: if you weren’t a fan before, you will be after the film.

The acting is as inspired as the screenplay allows, which just isn't enough to add any kind of conviction to the events that transpire on screen.

It's a new vampire classic, one to treasure endlessly.

Devos keeps her character’s unreliability and self-disappointment relatable, and falling backwards into a new lover is something that Devos captures beautifully with her uncertain facial expressions and hungry eyes.

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.

If you thought Vol. I was a brilliant piece of provocation, then Vol. II might disappoint you with its detour into (relative) conventionality, its attacks on arthouse artificiality, and its apparently very different politics. But if you found Vol. I to be as silly as some did, then Vol. II suggests something interesting: Lars von Trier might agree.

The Winter Soldier is probably in the upper tier of Marvel pictures in terms of quality, but ultimately proves too muddled and frantic to match the heights of "The Avengers."

Felt at times like a long-winded dirty joke – meandering, incoherently provocative, self-indulgent without being fun enough to make up for it.

A clever assemblage of archival and historical material that unfortunately doesn't quite go far enough.

It only ever connects in the small moments that fall through the cracks of the supposed formal and thematic experimentation—when the fine actors are allowed to walk and talk like real human beings, rather than a collection of tropes.

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.

Boynton's film is refreshingly complex.

When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.

The supporting cast all do excellent work too, but this is Eric’s story, and so it’s O’Connell’s film. His performance is a revelation.

As a portrait of a legitimately fascinating unlikely superstar, the film really works.

There’s no denying the lovingly recreated production and costume design, all curved corners and wide lapels, and the era’s sexual politics and self-help movement are slyly incorporated as well... However, the droll humor on hand is more hit-or-miss.