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Moonrise Kingdom
At first it feels like the movie Wes Anderson's detractors have always accused him of making. Then it finds its footing and becomes one that only he could have made.
by Andrew Schenker
Oslo, August 31st
The evocation of things ending suffuses the film with melancholy, as Anders increasingly becomes an observant rather than a participant in his own life.
by Ela Bittencourt
The Intouchables
A cheeky dream-drama about the friendship between a rich, white quadriplegic and a penurious black job-seeker, the premise alone nearly renders analysis redundant.
by Joseph Jon Lanthier
Battle Royale
Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
by Chuck Bowen
Mighty Fine
Debbie Goodstein-Rosenfeld's film seems oddly anemic when it deals with anyone but Chazz Palminteri's Joe.
by Andrew Schenker
Redlegs
Redlegs may be "raw," but it's meaningless. That's something Cassavetes would have never abided.
by Calum Marsh
Quill: The Life of a Guide Dog
Yôichi Sai's exquisite live-action Quill may be the family film of the year.
by Rob Humanick
Battleship
Shamelessly mimics Michael Bay's larger-than-life dialogue, sweeping cinematography, cornball romance, and military fetishism.
by Nick Schager
What to Expect When You're Expecting
It's the inevitability and uniformity of the film's attitude—as well as the desperately strained and unfunny way in which it puts it across—that's bothersome.
by Andrew Schenker
The Dictator
Its dolly- and crane-operated polish points toward an acquiescence to Tinseltown mores, which until now Baron Cohen hovered cheekily above.
by R. Kurt Osenlund
Hysteria
Hysteria's happy ending isn't the type that calls for a cigarette, and it certainly isn't the one the film deserves.
by R. Kurt Osenlund
American Animal
It may be baked with the same ingredients that come in your standard mumblecore starter kit, but because of Matt D'Elia's indebtedness to other movies, the film follows a different recipe altogether.
by Kalvin Henely
Lovely Molly
The Eduardo Sánchez film's inconsistent, largely bankrupt style is second to how hard and tackily it leans on the horror of child abuse to goose audiences.
by Ed Gonzalez
The Color Wheel
Much like the work of generational cohort Michael Robinson, Alex Ross Perry's films are steeped in a viscous cultural past.
by Joseph Jon Lanthier
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Box Office
Weekend of May 18, 2012
