United States
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
Spring Breakers may be much more profound of a film than initially thought, lucidly expressing our fascination with money and violence.
With a premise filled with potential and talent both in front of and behind the screen, Captive State is an unfortunate disappointment.
The Browsing Effect is a movie that may appear shallow at first glance, but gradually reveals more hidden depths when you make the effort to look in further.
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
Good Boys is not for everyone, for it is messy and repetitive in what it’s doing, but it is also exceptionally funny, charming, and thoughtful.
A Madea Family Funeral is a message we need to hear, but sadly, the Hallelujah’s don’t come until the credits.
While Gloria Bell might be almost a carbon copy of 2013’s Gloria, the film demonstrates how much Sebastián Lelio has evolved as a director over the past six years.
The film’s attempts at multiple genres may not blend together, but the talented cast and direction by Chandor help raise it above its flaws.
Fast cars. Squealing tires. Roaring engines. Screaming fans — are all nowhere to be found in this dull as dirt car racing snooze-fest.
While groundbreaking or original, The Aftermath is worth seeing for the enticing performances and striking ambience that it establishes.
Just when I thought coming-of-age fatigue is about to kick in, Booksmart overwhelms with its confident energy and wisdom.
The Highwaymen is a well-intentioned Western drama that takes a new perspective on the Bonnie & Clyde mythology, but it needs another run at tightening the runtime.