Restless, at times even chaotic, the film often seems to be replicating the experience of having a manic episode.
The film dispenses with sensationalism, engaging with Chris Burden’s most notorious work on its own terms.
Pat Healy’s Take Me is a suspense comedy that simply isn’t very suspenseful or very funny.
One Week and a Day is a comedy that depicts the difficult period of transition from mourning back into normal life.
Gifted’s notes are crowded out by the screenplay’s plot machinations and emotional manipulations.
It’s content to be the sort of film parents can throw on an iPad to ensure 90 minutes’ worth of relative peace and quiet away from their antic children.
The film barely even scratches the surface of the animating force of Cézanne and Zola’s lives: their art.
The film is so concerned with launching a mature teen-targeted franchise that it often forgets to have some fun.
Ala Eddine Slim is ambitious, but sometimes his avant-garde mysticism lapses into meandering abstruseness.
It settles into a familiar coming-of-age trajectory, but it’s always enlivened by John Trengove’s intimate, inquiring eye.
More conspicuous than its rote melodrama is the way the film elides the concurrent genocide of ethnic Armenians by Ottoman forces.
By taking complex women out of anything resembling the real world, Onur Tukel ultimately cheapens them.
Junction 48 is animated by a sense of righteous indignation that carries the film through its missteps.
It’s difficult to begrudge a film that has the good sense to put so much stock in Ben Kingsley’s hammy theatrics.
It incisively probes the connection between the racism of the “liberal elite” and good old-fashioned white supremacy.
This is an often beautiful film, unmistakably the work of a great director but also a clearly compromised one.
Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
Ceyda Torun’s Kedi is an open, tender-hearted meditation on the relationship between felines and humans.
Ryan Ross’s Wheeler is at its strongest as a showcase for Stephen Dorff’s husky, lived-in performance.
Lasse Hallström’s gooey film exists only to offer comforting reassurances about dogs’ natural servility.