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Shireen Seno’s portrait of a remarkably imaginative and self-contained child at a specifically 1980s Filipino moment is full of both charming whimsy and a delicately observed, melancholy universality.
A lazy adaptation of the Stephen King novel, manipulatively cheap when it isn’t provoking eye-rolls at its genre banalities. Why can’t someone find the right role for the charismatic Jason Clarke?
Elegant but dull, and so subtle it’s downright diffuse. If you don’t know much about Rudolf Nureyev going in, you won’t know much coming out, either. Weirdly, it doesn’t even feature much dancing.
A limp noodle of a cinematic noir that drains Patricia Clarkson of her usual eccentric charisma. And where it aims for intriguingly oblique pseudoscientific philosophizing, it ends up merely obtuse.
This uninvolving coming-of-age crime drama tries to dazzle with visual tricksiness, but it cannot make up for its teen protagonist who is mere metaphorical symbol, and a bystander in her own story.
Actor Jessica Hynes makes an astonishing directorial debut with this disconcerting little movie about women’s everyday anger and resentment, and the absolute battle just to get through the day.
Beautiful teens fall in love while dying prettily in this year’s tragic young romance, one that medical necessity renders refreshingly chaste. Best bit: Star Haley Lu Richardson is genuinely charming.
An iconic story from the classic era of the British cult TV favorite comes to US big screens for one night only… and the cleaned-up FX as well as its deceptively simple tale hold up rather well.
Asghar Farhadi attempts to meld melodramatic mystery with his usual humanistic drama, but leaves little space for either impulse to be satisfied. Disappointing and strangely anticlimactic.
Post WWII upheaval is a cheap backdrop to beautiful people getting it on. Characters and situations are undeveloped, and there’s little genuine romance here, and too much laughable preposterousness.
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