The Square by Carson Lund 2.0 In scene after exquisitely staged scene, The Square threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
Suburbicon 1.5 by Keith Uhlich Everyone in George Clooney's Suburbicon is a bastard, worthy of being shot, stabbed, blown up, or poisoned with lye.
Amityville: The Awakening 2.0 by Chuck Bowen Writer-director Franck Khalfoun's Amityville: The Awakening is an elegant entry in a lame series of horror films.
All I See Is You 1.5 by Derek Smith The longer things drag out, All I See Is You becomes every bit as amorphous as its protagonist's vision.
Félicité 2.0 by Clayton Dillard Alain Gomis never reconciles throughout how the film's disparate parts are meant to fit together.
Ruben Östlund on The Square and the Social Contract by Andrew Crump Östlund says that he has no qualms about skewering his characters' more blatant hypocrisies.Read More
Nahuel Pérez Biscayart on BPM and Embodying Fragility by Peter Goldberg Biscayart discusses acting as a form of therapy and why more people should think about dying.Read More
The Divine Order by Derek Smith The film's performances and narrative flounder to strike the right balance between comedy and drama.
The Snowman by Jake Cole The Snowman is missing so much basic connective tissue as to be rendered almost completely inexplicable.
Only the Brave by Derek Smith Joseph Kosinski's Only the Brave displays a kinship to Howard Hawks's hard-nosed, old-fashioned pragmatism.
The Killing of a Sacred Deer by Greg Cwik The Killing of a Sacred Deer's proficiency is alluring, until its hollowness becomes obvious.
Wonderstruck by Steve Macfarlane Wondertruck is a paean to the 20th century's moving image as well the invisible, Oz-like figure of the collector-as-curator.
BPM (Beats Per Minute) by Ed Gonzalez Robin Campillo's BPM is at its most intimate when observing the exchange of war stories.
1922 by Chuck Bowen Zak Hilditch's 1922 informs Stephen King's pulp feminism with primordial, biblically ugly force.
Tragedy Girls by Henry Stewart Throughout, the narrative padding is conspicuous, and the copious references to better films are gratuitous, even lazy.
Leatherface by Chuck Bowen Leatherface may as well have been overseen by any hipster looking to make a mark at Platinum Dunes.
Jungle by Henry Stewart While the scares don't quite work, Jungle revels in a different aspect of horror-thrillers: the gross-out.
