A too-safe ending deflates what would otherwise be an excellently acted period piece.
'Lost In Paris' is a sugary sweet concoction of romanticism and slapstick comedy.
Post-production woes kept 'Vincent N Roxxy' from release for two years, but only Zoe Kravitz saves it from the scrapheap.
How 'Get Out' proves that the social commentary offered by Jordan Peele is pushing buttons that shouldn’t exist in 2017.
Rather than shallowly engage with the politics of equality, director Joe Ahearne ties the politics of B&B back to the story intrinsically.
If the film didn't fall apart completely regarding rhythm, The Dinner would make for the type of compelling adult dramas that are rarely seen in cineplexes anymore.
There is a great deal of promise on display in the mixed effort that is 'Buster's Mal Heart'
The narrative of Salt and Fire, beyond the oddly enchanting musings of Michael Shannon, adds little in the way of compelling material.
Dan Stevens gives a tour de force performance in 'The Ticket'
Song to Song won't convert anyone who isn't already charmed by Terrence Malick's late-period offerings, but there are more bursts of creativity here than previous entries.
'The Last Laugh' is a specific case-study of linking tragedy with humor.
'The Great Wall' wants to tell a story that crosses all cultural divides, yet trivializes the contributions of the non-American cast