Fading Gigolo is mostly an inoffensive trifle, slightly undone by its lack of focus and mishmash of genres that don't quite come together. But it's breezily told and acted, with some decent laughs and unlike many comedies these days, it actually cares and respects the characters and the consequences of what they go through.

Guiraudie creates an ambiance of eerie atmospherics that is at once crisp and observant, and oddly dreamlike, or nightmarish.

Enemy is a transfixing grand slam that certifies Villeneuve as the real deal and one of the most exciting new voices in cinema today.

Totally bonkers, hilarious and wickedly clever, The Double is special and singular filmmaking at its best.

While there's no doubt that Shepard's film is frequently laugh-out-loud funny and impressively, wittily written, with a finely tuned ear for the perfect bit of foul language, it stumbles slightly on the story side.

Like an epic sonnet, with beautiful accompanying music and songs, “Eleanor Rigby” deals with memory, perception and the emotional toll a relationship can have on an individual as much as it deals with the more grandiose themes of love and loss.

Devil's Knot lacks potency or a compelling narrative reason why anyone remotely familiar with the case needs to be watching it.

Despite the fine performances from McConaughey and Leto, tightly coiled editing that keeps the story moving and a nicely measured balance between drama and comedy (McConaughey is often a hoot), Dallas Buyers Club still sometimes feels like it's missing one more grace note.

Since the music doesn't connect like it should, everything else that is underpinned in the story by these songs also doesn't come together with the weight or power Carney surely intended.

Bad Words wants so desperately to be funny that there isn't much time left to make any logic out of the story.

Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.

The movie is sexy, in a very real, occasionally shocking way, and it's interesting to see this kind of frankness in a movie where the characters are all so young.

Enough Said is another tremendously well crafted, intelligent dramedy about people, with complicated lives, who make bad decisions trying to do the right thing.

With the cinematography and its family-centric approach, it takes what could have been a dry subject and broadens its appeal.

Mr. Nobody is simply a failure.

August: Osage County is a film of big, wild gestures, plate smashing, screaming and tears, but not nuance, and it all has the effect of leaving one deadened, not moved.

For all the assuredness behind the camera and in front of it, there's very little in way of edge or even, surprisingly, emotion.

The Family is ultimately a headache, nearly two hours of baseball bat beatings and dull witticisms, with zero inventiveness or energy.

Why, besides a stellar opening weekend, does this extended narrative exist?

It might not be the director's most immediately accessible films, but it's among his most fascinating and beguiling.

As an affecting romance between a woman caught between two worlds, it very nearly sticks the landing. As a showcase for Ms. Bosworth, never better, it's often sublime.

It's a film that plays equally to both sides of the political spectrum, and it feels like pandering either way.

Rush is a pretty thrilling piece of pop entertainment. It's excitingly assembled and moves like a bullet, highly engaging and nerve-wracking when it needs to be and light on its feet elsewhere.

For a story with so much feeling, there’s surprisingly little emotional resonance in Adore.

With a blitz of talking heads and graphs and technical jargon, Money For Nothing can be exhausting viewing at times, and it's certainly not the most cinematic experience... But it's never unclear.

Paradise is neither a good film nor is there any evidence it was a good script.

Semi-flat with only a few jokes and emotional beats that land, the picture is often dull when it should be poignant.

Well shot and well made, Kill Your Darlings is a very competently constructed effort on a whole, but there’s an emptiness and familiarity at its core that it cannot transcend.