by Charles Bramesco
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.
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.
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.
Writer-director Claudia Llosa attempts—and fails—to build visual poetry atop a shaky foundation of faith healing and falconry.
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.
After seemingly hitting bottom with its disgusting second entry, the series just keeps tunneling down with its third.
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.
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.
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.
Awkward Americanized title aside, this mood-driven, candy-colored French romantic comedy follows its central couple into a survivalist boot camp.
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.
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.
The Barden University Bellas are back in a sequel that mirrors the problem with these a cappella big shots: They’re more concerned about giving the people what they want than doing what made them a success in the first place.
John Maclean’s tragicomic neo-Western plays like the Coen brothers’ True Grit with a dash of Wes Anderson quirk, following a 16-year-old Scot as he journeys to American to reunite with his lost love.
A French thriller starring Jean Dujardin tells the story of the French Connection from the other side of the Atlantic.
Despite a great original soundtrack and the sun-drunk fuzz of its 16mm photography, Whitney Horn and Lev Kalman’s collection of loosely connected vignettes about vacationing grad students in the early 1990s is a half-baked exercise.
Belinda Sallin’s documentary had great access to the famed Swiss surrealist before his death in 2014, but it has trouble penetrating the mind of an artist who would rather his work speak for itself.
Director George Miller returns to his post-apocalyptic series for the first time since 1985’s Mad Max Beyond Thunderdome, setting a new standard for action while addressing tough philosophical questions.
A script hampered by quasi-theological lectures and a reluctance to deliver the goods spoils this Jean-Claude Van Damme vehicle, despite the can’t-miss premise of Van Damme going after kidney thieves.
Brett Haley’s drama about the love and loss of a well-heeled California retiree (Blythe Danner) has an excellent cast and avoids the pitfalls of other films about elderly life. But it could stand to take a few risks.
Sean Astin and Chris Mulkey are both persuasive as strangers who fight for survival in the middle of Lake Michigan, but director Gil Cates Jr. weakens this two-hander with flashbacks and tell-not-show revelations.