Keith Watson

The brother-sister drama at the center of writer-director Clio Barnard’s film remains frustratingly hazy.

Writer-director Shana Feste’s film alternates between cutesy comedy and undercooked emotional drama.

It’s hard not to be disappointed that Incredibles 2 is, in the end, just another superhero movie.

Director X’s SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude.

The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef’s uniquely obsessive work habits.

Adrift is a simple, acutely observed love story that also happens to be a rousingly stripped-down tale of survival.

As he showed in The Imposter, writer-director Bart Layton knows how to spin a compelling yarn.

Anthony Bryne’s high-flown style only serves to highlight the film’s icky way of exploiting real-world tragedy for kicks.

It’s said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman’s Book Club.

James McTeigue’s Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.

It captures the pictorial beauty of old-fashioned farm life, but Xavier Beauvois is careful not to romanticize hard labor for its own sake.

The film rarely presents a clear analysis of Ruth Bader Ginsburg’s victories, reducing her work to empty slogans.

It arrives on home video ready for canonization as a new family-friendly classic, and this Blu-ray transfer immaculately reflects its inviting warmth.

Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.

Given the sheer amount of comic material in Super Troopers 2, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.

It flattens Maryla’s personal story into hazy generalities about tolerance and the value of remembrance.

Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.

Kay Cannon’s Blockers approaches the randiness of her female characters with unvarnished frankness.

The film is a dazzling collage of styles and approaches in which every scene feels different from the one before.

Lynn Shelton’s film firmly resists supplying its main characters with easy, you-can-have-it-all answers.