Review: Tracks

The feminist bent of Robyn’s quest nicely shadows the John Curran’s film without ever being stated aloud.

Review: The Giver

The internal crisis of its protagonist amounts to the flicking of an on/off switch rather than the ebb and flow of a consciousness being born.

Review: Moebius

A kind of silent opera in which the actors’ precise facial emoting and a muscular editing rhythm create a melodrama by turns horrific and hilarious.

Review: I Origins

It treats its characters as placeholders for philosophical arguments and spends the majority of its running time trying to “solve” existential mysteries without adequately exploring them.

Review: Tammy

The film is an almost plotless doodle, with low stakes made even lower thanks to the antiheroine’s bratty passivity.

Review: The Last Sentence

Though ambitiously busy, the film is also self-sabotaging and stagnant, showcasing its main character’s struggles without interpreting them into a cohesive thesis.

Review: Authors Anonymous

It takes the easiest approach to every scene, haphazardly juggling different tones without integrating them into a cohesive and consistent thematic identity.

Review: Joe

David Gordon Green finds a balance between symbolism and realism in his storytelling that allows the film to be many things at once.

Review: Goodbye World

The tetchy band of thirtysomethings’ interpersonal problems are infinitely less compelling than the mysterious and original global disaster the filmmakers have devised.