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A rare new expedition to the realm of messed-up young women is as unsatisfying as many of the ones about feckless young men. An unlikeable protagonist should at least be interesting. This one isn’t.
Intense, uncomfortable family drama morphs into psychological suspense in a challenging tale of racial and cultural identity eliding the biases and delusions of its characters with the viewer’s own.
This Norwegian family drama, tinged with fantasy and horror, depicts a teen girl’s emotional turmoil through fantastical, yet oddly pragmatic, reveries. Newcomer Ylva Bjørkaas Thedin is heartbreaking.
Atmospheric mood — this is a dour nightmare in the stark gloom of 19th-century Wales — and a striking performance by Eleanor Worthington-Cox aren’t quite enough to sustain this near-horror film.
Seriously adorkable teen is saved, in 1987, by the rock poetry of Bruce Springsteen. The Boss is still relevant today, as is, alas, the harsh political and economic setting of Thatcher’s Britain.
Pensively melancholy, this jagged, humane portrait of US Army whistleblower Chelsea Manning is a massive challenge to the notion of soldiering as a good way for a lost young person to find oneself.
A rare treat: a perfect film. Smart, funny, wise, sparkling with wit both visually and in its snappy dialogue. A self-assured directorial debut from Olivia Wilde, confident and effortless. Pure joy.
Plays with its let’s-clone-a-Neanderthal plot like it has no idea of the horrors involved and no appreciation of the ethical questions it raises. (Paging Ian Malcolm!) A tremendous missed opportunity.
More movies like this, please: a piquant mix of whimsy and snark; an insistence that it’s not crazy to forge your own oddball path; an embrace of girly uncool. Bring on the weird, difficult women.
Nothing matters in this literal adolescent-male power fantasy, a cheesy mishmash of nonsense and low stakes. Anyone who needs at least a bit of meat in their superhero tales will be disappointed.
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