A trained-from-birth teen spy faces her toughest assignment when she tries to pass as a normal teen in a comedy that strains to do right by its high-concept premise.
Adapted from Posy Simmonds’ graphic novel—and with the same actress, Gemma Arterton, who starred in another literary Simmonds adaptation, Tamara Drewe—Anne Fontaine’s twist on Madame Bovary brings parallels to Flaubert’s novel into the modern world.
The directors of Lenny Cooke take on a feature drama, but their New York addiction story sticks close to real life, using largely non-professional actors and working from a memoir by their lead actor.
Andrew Morgan’s advocacy doc about the terrible human and environmental consequences of “fast fashion” doles out information thoroughly but artlessly.
Leah Meyerhoff’s perceptive drama follows a vulnerable, inexperienced 16-year-old who clings too hard to a volatile first love.
Gil Kenan’s faithful rehash of Tobe Hooper and Steven Spielberg’s 1982 family-friendly horror smash about a haunted house in the suburbs is inferior in every respect.
The last movie currently on the Studio Ghibli docket, Hiromasa Yonebayashi’s gorgeous feature about an asthmatic girl who meets a strange friend in the country shows the animation house continuing to raise the bar on lavish, detailed imagery.
Writer-director Claudia Llosa attempts—and fails—to build visual poetry atop a shaky foundation of faith healing and falconry.
It’s not the sexiest subject—or the sexiest documentary—but Sandy McLeod’s fascinating look conservationist Cary Fowler and The Svalbard Global Seed Vault brings attention to a “Noah’s Ark” of seed storage.
Mumblecore purveyor Nathan Silver has mastered the inarticulateness of everyday speech, but this 75-minute trifle about a thirtysomething working through marital problems is awfully thin gruel.
Brad Bird’s first directorial failure comes with a big, bright moral—and so many sloppy narrative choices and unanswered questions that it’s impossible to focus on the wonder.
As one prong in a larger “Dishonesty Project,” Yael Melamede’s documentary looks into the human capacity for lying, and the consequences of white lies and downright whoppers.
After seemingly hitting bottom with its disgusting second entry, the series just keeps tunneling down with its third.
Jaw-dropping aerial photography and daredevil-in-the-clouds short films give Marah Strauch’s documentary about BASE jumping founding father Carl Boenish a visceral punch best experienced on the largest possible screen.
A road movie that never leaves town, Alonso Ruizpalacios’ promising debut feature follows three teenagers around Mexico City as they look for folk singer Epigmenio Cruz during the student strikes of 1999.
Awkward Americanized title aside, this mood-driven, candy-colored French romantic comedy follows its central couple into a survivalist boot camp.
A surprise smash hit in Israel, this black comedy about euthanasia follows a group of ailing retirees who invent a death machine that allows patients to make their own end-of-life decisions.
Mark Rydell’s 1979 rock melodrama, loosely inspired by Janis Joplin, features a star-making performance by Bette Midler as a beleaguered singer, and electrifying stage footage by ace cinematographer Vilmos Zsigmond.
An action film starring Mickey Rourke and Don Johnson attempted to define the state of cool for 1991. It didn’t.
Before setting sail from England to Hollywood, Alfred Hitchcock pulled together a Daphne du Maurier adaptation that’s better than its reputation, thanks largely to Charles Laughton’s lead performance.