United States
Using almost an entirely autistic cast, Keep the Change is a groundbreaking, intimate portrait that humanizes and explores a vast array of people living with Autism.
Susan Walters’ All I wish offers a minimally interesting story, but serves up some fine performances from Sharon Stone, Ellen Burstyn, Liza Lapira, Tony Goldwyn, and Gilles Marini.
Father Figures is a swing and a miss, lacking enough entertaining or cogent material to sell this half-hearted comedy.
While better than its predecessor, Beyond Skyline is still a sequel to a thinly conceived film, and even the freshest coat doesn’t work to hide the issues underneath.
Oscar Wilde enthusiasts won’t get too much out of Al Pacino’s Salomé films, though Jessica Chastain fans will want to check them out to see her first performance on the big screen.
California Dreams blurs the line between fact and fiction, focusing on a young man aspiring to make it in the movies and achieve the American Dream.
This particular re-imagining of Tomb Raider is nothing short of a living, three dimensional video game that Tomb Raider gamers can be over the moon about.
Steven Spielberg’s Ready Player One is a truly exhilarating visual experience and a thrilling ode to pop culture. Spielberg’s control of the camera and expertise in crafting an action sequence is nonpareil, ultimately making the film the greatest movie to see in 3D since Avatar.
D’Inked: A Tattoo Removal Documentary delves into the world of tattoos and the people who subsequently decide to have theirs removed, showing the arduous process and how it has changed the culture of tattoos.
With sophisticated cinematography and aesthetics, The Strangers: Prey at Night and its moody semblance of survival preserves dread just enough to deserve its place in slasher cinema.
Wild Wild Country is highly intriguing, captivating its audience from the very beginning, provoking sincere emotion and proving itself to be wild indeed.
Despite some promising moments, The Vanishing of Sidney Hall never quite reaches the level of its ambition, ultimately fading in the background amongst more prominent films about the art of writing.
Relying heavily on the personal over the historical, 1985 is a gripping reminder that the social drama need not be loud and tumultuous for it to be effective.
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.