Mark Gill's film is content to indulge young Steven Patrick Morrissey's basest, self-flagellating impulses.

Those who find Rohmer heroines difficult might even be won over by the depth and poignancy of Marie Rivière's Delphine.

The Hitman's Bodyguard most disappoints for its unwillingness to consistently poke fun of its inherent absurdity.

The ending of Justin Chon's film hinges on a preposterous outcome borne from screenwriting opportunism.

Mapping the intersection between history and emotion, Michael Almereyda finds himself in Alain Resnais terrain.