Endless Poetry eventually, like young Alejandro, opens itself up to the world in all of its beauty and complexities.
Director Will Raee’s film takes its cue from the Toddlers & Tiaras school of reality TV child exploitation.
Aside from vilifying the Nazis, the ideological endgame of Oliver Hirschbiegel’s film remains a bit too slippery.
Santiago Mitre’s film is appropriately unsettling and disconcerting in its examination of female empowerment.
The Recall has the look of a SyFy original movie and the self-seriousness of Ridley Scott’s recent Alien films.
Johannes Roberts’s 47 Meters Down can’t help alternating between the genuinely terrifying and the just plain dumb.
Jonathan Mostow luxuriates in the pure surface pleasures of the his many taut, formally dynamic action sequences.
Its gory conclusion is presented with an ostentatious grandiosity that the rest of the film simply doesn’t justify.
Its incoherent turn of events attempts to stupefy us into mistaking its deeply flawed internal logic for ingenuity.
Writer-director Robin Swicord’s film seems content to merely carry out its absurdist premise until the bitter end.
Throughout, Jim Jarmusch playfully blurs the line between driver/passenger, servant/customer, and native/immigrant.
The film earns its emotional catharsis while staying true to its roots as a truly chilling and intense thriller.
The Wall packs a surprisingly savage punch by boiling the exploits of battle down to its essential elements.
The main character is too often pushed to the sidelines so that the filmmakers can indulge tired family-drama tropes.
In none of its manifestations is grief as tidy and meticulously arranged as in Eric D. Howell’s film.
Unwittingly perhaps, Sand Castle reveals itself as a microcosm of America’s foreign policy in the Middle East.
Katell Quillévéré’s film allows the sorrows of losing a life and the joys of saving it to remain congruent.
The film has absolutely no interest in the dilemmas or after-effects of war and occupation.
Director Ido Fluk’s The Ticket steadily devolves from a unique character study to a blunt morality tale.
It constantly shifts its genre allegiances, revealing itself to be a cinematic jack of all trades and a master of none.