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Kelly Macdonald is exquisite, bringing a lovely freshness and authentic life to a familiar sort of character. Even a script that is often improbable and strained cannot detract from her journey, hard as it tries to.
A scathing critique of inhumanity in the name of religion — in this case, Jehovah’s Witnesses — made all the more chilling by its drab colorlessness and mute suffocation.
Gloomy, authentic, essential: this auspicious feature debut from writer-director Jenny Lu is an anti–fairy tale of forgotten women and the false promises of end-stage capitalism.
Epic yet intimate, this is a visually gorgeous and emotionally lush fantasy drama about love and hope set in a violent but beautifully realized invented world.
Writer, director, and star Rupert Everett’s labor of cinematic love, about the last years of Oscar Wilde, is a small wonder of contradictions: nightmarish yet sanguine, a bit sordid yet full of grace.
The sinister ambiance has a terrible grace, but its raw and honest portrait of grief and guilt is ultimately diminished by the supernatural horror that is also at play.
A movie as generous and as nonjudgmental as its protagonists, as frustrated yet as gently questing as they are. Claire Danes and Jim Parsons are extraordinary.
Beautiful and startling, bursting with both brutality and hope, this animated adventure is too intense for young children, but the brains and bravery of its young heroine will inspire older kids and adults alike.
A quiet horror movie about grief and regret as spiritual possession, about rationalization and denial as immorality. We don’t tell ourselves stories that whisper, as this one does, The Nazis had help. We need to.
This stilted, utterly implausible film manages the astonishing feat of being both histrionic and monotonous at the same time, trolling us with absurd clichés, yet doing so with a quiet solemnity.
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