Challenging, complex and frequently ugly, Paradise: Love is a ruthless exploration of how unlike our everyday selves we can behave when we’re "on holiday," and how much that illuminates who we really are.

As a documentary and a love story, Cutie and the Boxer is nothing short of breathtaking.

The East is definitely a movie that's going to divide people but it'll be a conversation worth having.

Mezmerizing in fits and starts, Graceland doesn't coalesce into the "important" thriller it seeks to be.

Pain & Gain fails at being an entertaining and ridiculously fun Michael Bay movie and curdles into something much more tone deaf and obnoxious.

It’s an interesting hybrid of the relationship movie, mumbly indie and dark murder film, and the combination works here, for the most part.

While the film is hysterical, its real strength lies in the way it is able to deal with an issue like sexism in the industry and work it out in a funny, honest and very real way.

For all the film's flaws, Black brings enough to the table that it's far from a chore, and if this level of ingenuity and surprise can be maintained, there'll be no need for Tony to hang up his Iron Man helmet any time soon.

Credit Swanberg who served as both director and editor for making a film that feels loose without ever being ponderous or phony.

Kiefer Sutherland feels somewhat miscast as the mentor, but nowhere near as badly as Hudson is as the love interest. In all fairness, it’s a nightmare of a part, an artist (whose art is, as it turns out, is terrible) haunted by the recent death of her boyfriend, and seemingly unable to read basic human feelings and emotion. But Hudson doesn’t really help things, coming across more often than not as unintentionally funny.

De Palma’s heart ultimately doesn’t feel fully in this film. What Passion is lacking is, ironically, some passion.

This is not the stuff of stirring humanist drama, but rather a bland scenario about boring people that want to mature but have no idea how.

Oconomowoc seems like a cartoon pilot that IFC doesn’t pick up, only to be turned into a film.

Unwieldy and unkempt but both moving and dizzying to experience, Laurence Anyways is Dolan's grandest statement yet.

The latest from the prolific helmer is not so much slight as is it light, charming and funny by equal turns, with a pretty terrific performance by Huppert who seems to be having a lot of fun with the part(s).

A wonderfully eccentric examination of unlikely friendships that illuminates the absurd and lovely corners of life, Prince Avalanche is a deeply enjoyable, wondrous delight.

The Lords of Salem is a product of Zombie’s better creative impulses, so it’s ok that it also features several of his worse indulgences, too.

Post Tenebras Lux is certainly unique, but Reygadas is often intensely more interested in provoking his audience than actually fleshing out his heady ideas.

With a conclusion that arrives as an open-ended gut punch, you're not just left lingering with unanswered questions, but the sensation that James Marsh has delivered something truly special.

The film contains some memorable moments, and a pair of fine performances, but it’s hard not to feel that it would have proved more successful if it had stayed on the path it was heading down for the first forty minutes or so.

Ultimately, This Ain't California is a movie powered by nostalgia, a propulsive kind of dreamy reflection to a time and place that may not have existed with events that might not have actually happened, but have all the reality of a life that was truly lived.

A beguiling romantic comedy with a heart, soul and pulse that will pleasure you for a full 90 minutes with hardly breaking a sweat.

Short Term 12 is a roller coaster of every emotion, managing to be both heartwarming and heartrending at once.

42 is excessively retro, neglecting the urge to pepper scenes with comic relief or oppressing, flashy conflict.

It is overlong, and familiar, and never quite hits top gear -- it's never especially bad, but neither is it especially excellent, beyond the visual wow factor. But there's still a lot to admire in the film, not least that it's engaging from the first moment to the last.

One of the most satisfying things about Crystal Fairy is that even though the lead character prefers to keep an ironic distance from things, the film itself is completely sincere. It’s about being good to people even when they’re kind of ridiculous.

There's no doubt Austen fans will find things to admire, but like the protagonist, you can’t help but leave Austenland feeling a bit unfulfilled.

Sightseers homicidal holiday isn't just a pitch-black comedy made with skill, will and brains; it's also another demonstration that Wheatley is, to use an all-too-appropriate phrase, going places.