A 197-minute comedy from the director of Humanité and Twentynine Palms? It sounds unlikely and unappealing, but Bruno Dumont’s made-for-TV production is full of dark, funny, disturbing surprises.
It would be nice to stay that Seth Rogen and Evan Goldberg’s political comedy about an assassination attempt on Kim Jong-Un were worthy of the international incident it caused, but it’s their worst film to date.
Leighton Meester and Gillian Jacobs display a breezy chemistry in a film about a straight woman and her lesbian best friend.
What’s the story behind the numbers people call to get help from strangers? This documentary attempts to find out.
Director Joe Carnahan’s ongoing examination of the awesomeness of alpha-dog masculinity continues with a VOD castoff that goes nowhere fast.
The screen adaptation of Joe Hill’s novel about a miserable murder suspect (Daniel Radcliffe) who grows devil horns misses the metaphor in its rush to lurid, confused comedy.
A sequel to 2012’s alphabet-themed horror anthology repeats the same gimmick, with diminished returns.
The second of this year’s two Elijah Wood-starring Hitchcockian thrillers about a guy being manipulated by a disembodied voice loses resolution as it goes along, then crashes in the third act.
Multiple generations of women come into contact with an evil force around a California property in Nicholas McCarthy’s stylish, ambitious, but ultimately listless exercise in gut-wrenching disquiet.
When tragedy strikes during a border crossing, a Mexican immigrant (Michael Peña) comes into conflict with an Arizona rancher (Ed Harris) in a drama that addresses a complex issue with insights and clichés.
Ari Folman’s half-animated follow-up to Waltz With Bashir combines science fiction and satire in telling the story of an aging actress (Robin Wright) who sells Hollywood the rights to her digital likeness.
An impressive cast punches the clock in an unimpressive Canadian thriller in which Susan Sarandon plays a detective with bad habits.
Arriving few months after the U.S. release of We Are The Best!, Lukas Moodysson’s great Swedish comedy about an all-girl teen punk band, this Mexican comedy about an all-boy teen punk band pales in comparison.
Charlie McDowell’s twisty film debut strands an estranged couple in a Twilight Zone-esque conundrum, with strong abstract results, and weak concrete ones.
John Wojtowicz was part of the 14-hour stand-off that inspired Dog Day Afternoon. But as this documentary reveals, that was only one chapter in his long, fascinating story.
A precisely observed film examines one day in the life of a Berlin apartment and those who live there, human and otherwise.
The damnably prolific Joe Swanberg gathers Anna Kendrick, Melanie Lynskey, Mark Webber, and Lena Dunham for a winning Yuletide hangout movie that’s a big leap forward from his previous work.
Screenwriter Naomi Foner (Bee Season) makes a late directorial debut with a generic coming-of-age movie about two virginal friends (Dakota Fanning and Elizabeth Olsen) pursuing the same generic hunk.
The stigma surrounding Bronies—overwhelmingly male, overwhelmingly heterosexual adult fans of the animated show My Little Pony: Friendship Is Magic—gets debunked in this documentary about their equine passion.
Based on the Nick Hornby novel, Pascal Chaumeil’s comedy-drama stars Toni Collette, Pierce Brosnan, Imogen Poots, and Aaron Paul as sad characters who form an impromptu support group after trying to commit suicide off the same tower block.