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A solid (if derivative) little thriller...

While terse and minimalist in storytelling terms, the Kafka-esque atmosphere nonetheless builds considerable dramatic tension.

Meticulously acted, gorgeously shot and hilariously insightful about the strange, inarticulable ways people can get on one another's nerves, this psychological thriller takes its premise to surprising, darkly comic extremes ...

This is less an updating of Superman than a downgrade.

Polley is working in the tradition of Orson Welles, but her trickery can be exasperating; it also neutralises many of the emotional revelations.

There's a smart and subtle drama about treating people as packages in The Crossing, but like any contraband, it's buried beneath layers of artifice.

Gigi comes into focus as a whimsical gem -- gorgeous in color, tasteful in its gay little plot, and musically rich as the violins play their hearts out.

The opera prima of the unmistakable supporting actor J. C. Lynch is a sort of cinta-summa of the also unmistakable and unforgettable supporting actor Harry Dean Stanton. (Complete review in Spanish in the Mexican newspaper Reforma).

An ensemble comedy awarded the top prize at last September's Venice Film Festival, Monsoon Wedding pulsates with music, dance, vibrant colors and laughter. But it also glows with quiet moments of drama.

Yes, it's telekinectics time again, children.

Observations on the modern office space are dead-on, and I dare you not to laugh out loud at a few of the sophomoric jokes!

A slice of regional poetry intrinsic to lives overlooked by, under-lived in comparison to, and outside the mainstream.

Not only does Elle open powerfully, but everything that follows is equally captivating.

A115-minute film that inspires admiration, but also restlessness.

If you haven't seen it and like things that are terrible, what you have here is a gold mine of bad creative decisions that culminate in one of the most baffling cinematic experiences of the 2000s.

A premature homage to an artist who -- while few doubt he will live up to his potential -- has yet to fully do so.

Pfening delivers a masterful, low-key performance that subtly unpacks the psychology of how immigration can turn lives into lies.

The movie wants to be on the same scale as War of the Worlds, World War Z or Roland Emmerich's movies, but at a fraction of the budget.

It is less about treating others badly than about what happens to us when we do, a bleary-eyed look in the mirror behind the bar when they announce last call.

Action director Antoine Fuqua's reverent but uninspired documentary preserves this once-in-a-lifetime combination of performances, many delivered by musicians whose age and infirmity are sadly evident.

The title "Mortal" wouldn't seem to require much explanation, but this Norway-set fantasy film leads with a handy definition ("mortal [mawr-tl] n. A human being"). Its estimation of viewers' intelligence doesn't improve from there.

It's uplifting to discover a debut film so open to showing both its artifice and heart on its sleeve.

It's strangely refreshing to watch a courtroom drama where theatricality doesn't trump meticulous examination and cross-examination.

Badly-directed trash which looks like it might have been shot and edited on a mobile phone.

She Hate Me invites anger and analysis about the stereotypes it appears to celebrate; a film that attacked those stereotypes would inspire yawns.

Screenwriter John Hodge strips Cooper's story of its details and charm, reducing it to a kind of characterless, elemental video game -- an apocalyptic scavenger hunt.

Rarely outside of drama do we see the kind of imperfect motherhood shown in The Babadook, which is what makes this Repulsion-like household of horrors so frightening.

Wilde delivers a confident feature directorial debut, mixing humour, embarrassment and poignancy to crowd-pleasing effect.

The kind of film that works better on the small screen than in theatres.

Very self-aware, Violent Night knows just what tropes to poke and when to lean into sincerity. The film shares a similar tone with Deadpool 2&#59; while it goes for gut laughs, you don’t leave with a caustic feeling.

I Smile Back spends most of its 85 minutes working through the paces of every movie about an addict you've ever seen, but it has a secret weapon: Sarah Silverman.

A nimble, handsome film that also happens to be about a noteworthy guy: the late Arthur 'Killer' Kane.

A delirious London nightmare that might be overcooked, pretentious even, but is nonetheless beguilingly imaginative and genuinely scary in places.

Kedarnath is a pointless, entirely forgettable film, but some may remember the girl fondly - which may well be the film's only task.

Until the director Frank Darabont decides that he's saying something important instead of making a nifty horror movie, The Mist isn't half bad.

There's genuine artistry even to this film's most exploitative moments.

Tomas Alfredson directs this Swedish art house cult alternative to "Twilight"

While the technique significantly streamlines things, it also strips away whatever makes us sympathize with or better understand the characters, leaving love and sex as unintelligible as ever.

Saved by Fresnadillo's visual virtuosity.

Centers on sisterhood and family, with a wee bit of peril.

Shot simply but compellingly, it feels like a polished and practised portrait of rekindled bonds.

Aniston's solidly done departure probably would have organically received its due (and possibly even more credit) had it been a genuine discovery in a film released and sold as the modest, blip-on-the-radar non-event indie that it is.

I saw great beauty and sadness, trying to imagine the director's final thoughts of his time on this planet, and as a result I think it's a great film, and a last masterpiece.

The twists and turns of "Uncut Gems" are best left untold, but it's a devastating experience. It shows an actor tapping into unexpected depths and establishes the Safdies as true auteurs.

A lack of imagination leaves the effects looking dull and the thrills feeling derivative.

It's one of those films where the more you think about it, the more you realize just how ludicrous and ill-conceived it actually is.

For some reason this movie offended a lot of critic-types at SXSW but the only thing that would really be offensive here is if it wasn't funny. And thanks to a nice teaming of Will Ferrell and Kevin Hart this is surprisingly funny stuff.

With the film's incessant strings and narration by Hugh Bonneville of "Downton Abbey," the earnest yet pompous tone could almost be mistaken for a Monty Python parody of the BBC-standard style.

So-so Whoopi comedy-thriller. There are worse things and she's made some of them.

This is one terrific musical.

There is little in the way of John Woo-style action setpieces in a Kitano movie.

Despite its best efforts, "Tanna" drifts into a mode of exoticism that renders it an ultimately frustrating experience.

As low-budget as the film looks, Stillman overcomes financial limitations by providing a learned script and eliciting polished performances.

At once disaffected and ludicrous, its difficult to tell if this fatiguing oddity wants to be dark or funny.

This film is seasoned in cliches, with plenty of badly written dialogue, over the top acting from Cuba Gooding Jr., zero chemistry between the two leads, and horribly tacky bad guys, tossed in to complete an overall bad movie recipe.

Many of [Altman's] observations have the strength of truth softened by indulgence and ultimate acceptance.

It is frustrating that there are morsels of some inspiration in here that either get rushed over or buried in quite extreme gruesome imagery and predictable plotting.

...slow and inaccurate...nothing I'd want to sit through if I knew what was in store for me, unless I just wanted to see a good impersonation of Queen Elizabeth and a bad impersonation of the eloquent Tony Blair.

Dwayne Johnson's gleefully violent and unapologetically silly IMAX-friendly superhero smash-up doesn't need Superman to, uh, change the hierarchy of power in the DC Films universe.

It's in that honest, truthful and sensitive way that the director has of approaching moments and everyday realities in which, suddenly, he is able to capture the magic of living, that is, the magic of cinema. [Full review in Spanish]

A nastily effective piece of action-horror, as reflective of its time and its war as the Vietnam-era "Deliverance" was of its time and war.

Both an appealing coming-of-age yarn and, as Monsieur Ibrahim embraces his own mortality, a heartfelt coming-of- aging saga.

One for the time capsule -- not just as an irrefutable visual record of the size, diversity, and vitriolic fervor of the anti-Bush protest movement, but also as a demonstration of how unbridgeable the red-blue divide seemed in those dark autumn months.

Simple and charming, an exquisite expansion of a great book into a great animated film.

It's Mishima's diagrammatic structure that most perfectly suits its subject, defined by his will to harmony.

An overripe mlange of Cronenbergian 'body horror' and alienated Lynchian weirdness.

A beautiful tale of life, love, music, and family, of things not working out but also working out just as predicted.

1% is a gritty gang flick soaked in blood, sweat, beer and cinematic history, with the haze of Once Were Warriors and Romper Stomper wafting in the air of the Copperheads hideout alongside the stale stench of hard liquor and tossed cigarettes.

In the end, you may even like Queen and Country more than Hope and Glory, which is saying a lot.

It's not good enough, at this point in the game, to serve up this collection of cliches and expect anyone to be fooled or entertained by it for a minute.

A cute, feline version of "Lady and the Tramp" that should enthrall families . . . and, of course, cat lovers.

If ever a movie pushed my cynicism buttons, this one was it...

British dating comedy has sex, language but lacks chemistry.

We're back on the social and emotional turf that Leigh knows best.

Of the original, all that is left is a framework, vividly present, but inevitably dissatisfying.

Adequately serves as escapist entertainment.

Clooney has certainly created a throwback to old Hollywood war films, which is fine, but almost unsure of his own recipe, throws far too many ingredients into the mix ultimately creating a war film that is indeed enjoyable but suffers an identity crisis.

There's a certain level of breeziness that's worth a sit, especially for anyone who's lost their faith in Chase and Dreyfuss in recent years.

It is a grippingly gritty and bleak film.

However, this central thesis isn't enough to sustain 130 minutes' worth of movie.

Smart, touching and enlightening, a combination that makes Bigger, Stronger, Faster the best documentary of the year so far.

Cocaine Bear commits to the complete absurdity of its premise. Not only is it hilarious at times, but seeing this drug-fueled bear wreak havoc makes for a good time in a crowded theater

Keaton may well be the only actress in Hollywood who could play this character without making her despicable or treacly.

The Emigrants is a mighty picture, powerful in its simplicity and earthiness, beautiful in its presentation, inspiring in its theme and message. The people are real people, the story is a real story.

A film about the pursuit of perfection. And the cost.

Stargirl tells you the importance of staying true to yourself, but it shies away from telling you the consequences if you don't. This is the biggest irony of all considering the source material. Despite its flaws, Stargirl is still a worthy watch.

Despite its thin veneer of grit, deep down the bar-rock fable Goldirocks is as hardcore as a puppy.

It can't be said "Happy Death Day 2U" is a great movie, but it's better than it should be. It knows it's a gag and basks in its sense of fun.

The results are sometimes striking, in pure visual terms, but rarely engaging; even as a brutish saga of underworld retribution, the film fails to get the heart pounding.

The movie puts its characters into one of the most hilarious predicaments we've seen in a while. But the punch line doesn't deliver.

[I]t depicts how Dahmer became the killer he was with frightening clarity.

Pretentious twaddle that tells you nothing about Arbus. Robert Downey Jr. manages to be dignified even when covered in mountains of body hair. That's something.

A thoroughly gratifying prestige thriller, thanks to riveting suspense and two brilliant stars.

A concert film by technicality, a cinematic trance in practicality.

The racial unease that defined early 20th century is refracted through the prism of blues history. The recording studio becomes a refuge from the racial bigotry of the world outside, and at the same time a diorama of a more insidious form of it inside.

Daniel Bruhl was highly watchable as Assange's second in command, and all these interesting people grappled with compelling questions about what their rights and responsibilities were towards the information they were handed.

Not only is it about accepting others for who they are, but – and most importantly – it’s about accepting oneself.

Intriguingly philosophical, with a breakout performance by Jim Gaffigan & stellar supporting roles. Writer/director Colin West weaves a thoughtful & necessary meditation on the ways that life is what happens when you’re busy making other plans. Floored!

Joining two previously independent monsters in one film signals the same desperation a sitcom producer feels when he sends his cast to Hawaii for an hour-long "special."

An altogether French film populated with fresh-faced and energetic young women...