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A distinguished and thoughtful film, marked by acute writing and a host of splendid performances.

Neel and co-writer David Gordon Green make an ungainly attempt to wrap its unsavory subject matter in a melodrama that's just not convincing, despite some strong performances.

It's a portrait of grief and devastation, and also of the ways in which the police and media can jump to conclusions and feed off of the public's anger and confusion.

Basically a digital effects dumbing of "Train to Busan."

Triple Frontier is not a waste of your time exactly -- it's a good film to curl up with on Netflix -- but Chandor surely has better movies ahead of him.

A intense morality tale about the resilience of a good-hearted woman.

It is the kind of picture that leans heavily on Stewart's skill, personality and built-in folksiness. Time and again he gives you the impression of an interesting character that really isn't there in the role.

The fights may not be very convincing, but the story's underdog structure is satisfying in a happy-cliché sort of way. Fighting is Rocky without the bombast, Fight Club without the daft metaphysical pretensions.

End of Days, cheesy as it was, comes nowhere near the glorious pandering and manipulation of Bless the Child.

Land of the Lost is, unfortunately, a perfect example of studio bloat: It's all noise and flash and chaos, but it lacks virtually everything that made the original television series so memorable.

Few films have captured the spirit of steampunk with as much peculiar daring and imagination.

Despite a predictable plot and underdeveloped supporting characters, this sequel may be admired by families with kids who enjoy Jolie's performance and the action adventure.

Despite certain historical inaccuracies and an insidious hagiographic treatment, commands respect as an entertaining chronicle of our times.

It has the look and feel (it not the performances) of an old TV movie - it's one scene after another in a handful of rooms, plodding towards a foregone conclusion.

Sensitively directed and powerfully acted, the new version passes muster as a different take.

a half-baked science fiction rip-off that manages to be both excruciatingly simplistic and utterly incoherent at the same time

The sequence of events is so relentlessly brutal as to become numbing, almost comical.

The story is barely comprehensible, clearly patched together after extensive reshoots, and the final result is a bloated, expensive mess.

Raunchy humor and genuine emotion typical of Apatow's films, but it lacks the moralizing and social commentary found in 40-Year-Old Virgin and Knocked Up

It's perhaps a never-seen-before technical stunt that's deeply intriguing, seriously cinematic and impossible to discuss without giving it all away.

Desert Dancer is the dramatization of a life story that rarely doesn't feel like a dramatization.

Mere words cannot describe how awesomely gnarly Piranha 3D is, how hugely entertaining, and how urgently you must get yourself to the theatre to see it. Like, now.

A film that goes beyond everything and also combines in a masterly way its cerebral side with strong emotional roots. [Full review in Spanish]

Far more Eric Bogosian than Oliver Stone, and still timely, even after fifteen years.

I think Toni Erdmann is an acceptable movie, but by no means one of the best of the year or other exaggerations that have been said out there. [Full review in Spanish]

The pace is so swift that it's impossible to take into account the full picture until Lyudmila gets a moment to breathe and think it through. Konchalovsky doesn't linger on the violence, but endows it with symbolic intensity.

Amateur actor Asher Avrahami is the standout as Moti accentuating both the maturity and the playfulness the character possesses in his desires to be free to create his own future.

With its subtle cultural critique, this is one B-movie that's smarter than it seems.

There are a few different potential films within Hermia & Helena - a Shakespeare adaptation, a tale of romantic relationships, a tale of family - but the totality proves a sunny and affable literary collage.

Crude, lewd and shameless? You bet.

A dull and creaky soap opera.

In a year that's seen mainstream cinema struggle to reach any great heights, it's refreshing to find a film that's as engaging and defiantly hard-to-pin down as Elle.

DiCillo's film veers perilously close to hagiography. To those not under the singer's spell, [Jim Morrison] totters precariously between the charismatic and the ludicrous.

"Steve McQueen: The Man & Le Mans" is an interesting documentary because it approaches its well-known subject from an unexpected angle.

Halloween: Twenty Years Later has forgotten the wellspring from which it flows.

Though it's supposed to be a suspense-thriller, Firewall is suspense-free short on thrills.

Mr.& Mrs. Smith offers a witty look at matrimony and its day-to-day tribulations.

He comes off as a detective building a case. But then, so do others. And only one can be right.

Those refutations are little comfort against the manifest power of American entitlement and religious superiority fueling final-days fantasies, against which the film winds up being a sobering warning.

Moana is one of Disney's best films, and undoubtedly one of the most beautiful and emotional of the year. [Full review in Spanish]

Oculus is one of the damn scariest movies in years.

Writer-director Riley Stearns has lovingly crafted an exquisitely absurd satire of toxic masculinity.

It's the closest that the Fast & Furious films have gone into James Bond territory ... though stuntman-turned-director David Leitch rather outdoes 007 when it comes to the action.

[McCarthy's] simply one of the best actors working today, and it didn't take a drama to see that. Can You Ever Forgive Me? most sings -- or rather, grumbles spectacularly -- when McCarthy and Grant are together.

It's the type of movie you can send your kids to, but only if you don't much like them.

Breathtakingly beautiful.

This new take won't be for everyone but I found there was entertainment to be had.

A feminist portrait that presents us with a celebrity who has remained true to herself and suffered the consequences.

An Unforgettable Summer is spare and direct in telling its story, and is well cast.

Indeed, this could be the scariest film of the year.

Has enough heart and insight into the complexities of being a teenager today that you can overlook some of its other shortcomings - primarily in the tired act of the titular character.

...stirs inevitable comparisons to Wild, the 2014 adaptation of Cheryl Strayed's memoir starring Reese Witherspoon. ... Yet where the latter film crafted an aura of introspection and solitude, The Wishing Tree feels more crowded, almost busy.

Ralph may be more a sinner than a saint, and his movie may be a little cheesy, but who cares - I thoroughly enjoyed following him on his quest.

A poised and highly promising first feature from writer/director Hope Dickson Leach.

Absolutely LOVED this. Bradley Cooper is just sensational. A juggernaut assault on the emotions. Pack tissues.

What is admirable about Ivory Game is that it recognizes the complexity of the issues.

It's a wisp of a thing, but it's a lovely wisp.

Why does this romp leave a bad taste in my mouth, as if it’s rancid eggnog?

An inane film rendered sometimes laughable by an atmosphere of dead-serious reverence.

The ultimate rejection of the movement - or, less fantastically, the mere 'moving on' of the people - is a frightening sting in the tail to recognise in this 50-years-later moment of societal unrest.

Wachowski has taken the familiar and modified it in such a way to make it seem new. It's a brilliant act of transformation.

It has its slack spells, but Rafelson's sure feel for the inexpressible subtleties of emotional relationships is evident throughout.

Schumer shows that every woman has insecurities about how they look, but wants to empower women to shake their fear of flaws. You may not think this is the best movie, but it may make you laugh and feel better about your bad self.

The filmmaker cast two very peculiar actors as his leads. That is not a negative. Savage and Kinski complement one another immensely. Both are very uncommon actors who are fascinating to watch. Together, they make for an idiosyncratic feast.

What gives Assisted Living its power is that the film was shot in a real home for the aged, and the patients -- with the exception of Riley's Mrs. Pearlman -- are genuine.

Leaves you with the impression that it could go on and on, picking up loose threads and exploring stray implications. More remarkably, you find yourself wishing it would, because these absolutely ordinary people turn out to be infinitely interesting.

The most poignant segment of the doc, which is narrated by Matt Bomer, is a tribute to those involved in the company who were lost to AIDS.

It's nasty and hard-R violent, which counts for something, somewhere. Just not enough for here or now.

A beautiful nightmare that it's hard to wake up from.

Soldier is so mediocre, it might have been more mindless fun if it had been even worse.

The trick to flying, the late Douglas Adams suggested, is to fall but to miss the ground.

If you're looking for insight, context, poignancy, the movie does offer all of the above.

The film, made entirely within a studio, has such striking sets that they linger in the mind more than almost anything else, with jagged angles, harsh shadows and intense lines representing the way the characters, and the filmmakers, see the world.

Alden Ehrenreich and Ty Sheridan were both great and the cinematography is stunning.

By painting in such broad strokes and playing up race-baiting that Ellis says he didn't experience, are they not couching the movie as somehow uniquely "black"?

Clayton and Bogarde felt the end result was a failure, and I concur.

An intelligent and provocative low-budget film with big-budget talent and look, making it an exceptional independent effort.

While [this] version of the Christmas spirit on trial as written by John Hughes isn't awful, it's also more disappointing than Seaton's take nearly half a century earlier.

Effectively slimed everyone's fond memories of the original.

The genre mix doesn't feel organic, the changes in tone are abrupt and the message it's trying to convey is unclear. [Full review in Spanish]

It stands alone as the best Star Wars entry since 1980's The Empire Strikes Back. Yes, it's that good.

Has enough charm and visual delights to compensate for its own storytelling shortcomings.

While there is tragedy at its centre, it's also about the power of love - among family, friends and lovers.

Alas, "Morbius" is too bound to comic book movie convention to become the overt gay vampire superhero melodrama it probably should have been.

Lame, tedious and decidedly NOT funny.

The film blends together impressive special effects, a story about teamwork and the redemption of a man who finally strives for greatness into an effective family film.

Despite a strong performance by Emily Blunt, The Girl on the Train is a middling thriller without much to offer.

With the masterful final shot, Neel wisely leaves the character in a fragile place, uncertain of his next steps.

An incredible blast, especially if you have the benefit of seeing director Elizabeth Banks’ insanely violent comedy/thriller with a packed crowd ... “Cocaine Bear” will bring people together. “Cocaine Bear” will save cinema.

Farhadi refined his vision and technique in later films like "A Separation," but "Fireworks Wednesday" is a strong and resonant early work, and it's gratifying that it's finally seeing the light of day in the West.

The beats aren't anything new; the value is in the execution, and that's great.

There's no place for violence in this classic Christmas tale, especially with a cracking bullwhip.

Kill Your Friends is based on a novel of the same name by John Niven, which on the strength of this ghastly mess I have vowed never to read.

A colorful British genre mash-up that crossbreeds the zombified existence of late twentysomething interpersonal ennui with a literal attack of the undead.

"A Fantastic Woman" is above all the story of a woman who loves, loses her love and fights for the universal human right to experience her loss and mourn for it, so that she will be able to get on with her life.

[An] ambitious, thrilling and necessarily messy adaptation...

Anna Kendrick's assured lead performance elevates this Glee-type musical affair from its modest confines.

... the finished product feels like a lot of individual performances that don't quite fit together.

The Exiles is an essential text for understanding political activism and how it changes a person.

Babbitt loves her actors and gives them fun stuff to do. If she works with similar themes in the future, I hope she gives her performers and her clearly fertile imagination more room to play.