London Road, on stage and celluloid, is an experiment likely to fall flat outside of the most devoted of cinephiles (and theatergoers), but an exciting one nonetheless, even if only for its boldness.

Despite presenting an environment enriched to weapons-grade plutonium levels with potential for interpersonal drama, Vinterberg can’t seem to find any.

It might not be as risk-taking as previous Shainberg gems, but his knack for expertly crafted drama remains.

As The Gods Will is a minor film from a major talent, but few middle of the road efforts from directors manage to retain the kind of wholly original sensibility seen here, and have as much fun as Miike is while doing it.

Even if it does shy away from harsher truths, Branciforte’s inaugural feature is a joy to watch.

The difference between Lights Out and any other mainstream horror movie is that it actually uses the dark as the center of its plot, organically drawing out the majority of its jump scares in the process.

For all the film’s faults, Saunders and Lumley still bring an addictive energy to the screen that finds you wanting more.

Unsentimentally romantic, there’s enough grace in Summertime to keep you enraptured.

Sometimes silly, outlandish, and sentimental in its fan service-y callbacks, Star Trek Beyond and its sense of entertaining urgency often trumps its insubstantial qualities, as illogical as that may be.

For the Plasma immediately throws its viewer into the deep end. Unique beyond measure, its mumblecore, indie affectation is contradicted by a bold ambition in the form of big, complex ideas which don’t always make sense in reality, but pave the way for some interesting insights.

Though its verité aesthetics are often more serviceable than inspired, and its vague who-what-where-when-why set-up neuters some of its lingering impact, the film’s depiction of entrenched prejudice remains astutely realized.

The film is a mostly workmanlike biopic that unfortunately can never match the energy of the subject it’s trying to capture.

In trying to include as much as it does, ‘Outlaws’ finds itself as more of tonal soup than a cohesive narrative feature.

Haemoo is a picture worth seeing for its thrills, scrupulous tension-building and mischievous genre twists that will have you gasping one second, and laughing the next.

Regardless of how you define your diet, At The Fork is effective and affecting in its offering of a variety of viewpoints.

In Chow’s hands, the lens becomes an elastic guidance tool for comic energy: fixate on a single image, pull back the band, let go, and snap, his story and characters launch forward in a blur of madcap amusement.

There’s no heart in this movie, no urgency.

What makes Phantom Boy unique isn’t the questions it asks, but the way it asks them and the answers it arrives at.

In embracing the disorienting quality present in Frank’s work, 'Don’t Blink' is but an abstract portrait, muddled by a jarring messiness.

The Infiltrator is ultimately a solid, if not exceptional, Scorsese takeoff, one that has just enough spunk and wit to make up for its often-apparent shortcomings.

Hooligan Sparrow is a vital reminder of the importance of artistic and journalistic freedom, and that telling certain stories can be an inherently perilous proposition — especially when those stories reveal something that the government would rather keep under wraps.

Not even the funniest actors on the planet could save what is an occasionally humorous, but largely unremarkable rehash.

A true blue dark comedy that isn’t so concerned with its darkness that it forgets to be laugh-out-loud silly at times too, “In Order of Disappearance” is a bitter, bloody treat for the black of heart.

I can respect the intent to craft The Legend of Tarzan as a new chapter for the hero, one which is aware of all the shortcomings of many Tarzan stories that have gone before. And yet the film minimizes its own best ideas and falls back on adventure film tropes, old and new, in a way that undermines its attempt to decontextualize Burroughs’ aging swinger.

Everyone here means well and wants to make an epic war film, but it lacks a narrative strong enough to make it essential viewing for those beyond the genre’s fans.

The picture’s strength is in its honesty.

It’s a fascinating look not only at this particular character and his wide reach, but at the evolution of the Internet, its utopian possibilities for connection, and the dark side of its power to expose and harm individuals within the system.

Even when it’s in the shadow of other movies that have traversed this territory to greater effect, the talented young performers at hand bring a rooted sense of reality that still makes it sing with rhapsodic gravitas.