Make no mistake, Obvious Child is a stunning debut. More than that, it’s also a terrific piece of cinema I’ll be thinking about and extolling the virtues of for a heck of a long time to come.

Chilling Sacrament a Disturbing Social Commentary Patrick’s (Kentucker Audley) missing sister Caroline (Amy Seimetz) has resurfaced. The former addict claims to have been cured, living within a secluded community located somewhere in South America run by an apparently kindhearted religious zealot known only as “Father” (Gene Jones). Heading to the secretive compound, Patrick is joined […]

22 Jump Street is a heck of a lot of fun, full of numerous, ribald laughs worthy of celebration, but it’s just not as satisfying this time around, at least for me it wasn’t.

How to Train Your Dragon 2 builds and expands upon the themes and ideas presented in the sensational 2010 first film, opening things up in a multitude of refreshing and unexpected ways.

David Michôd’s gripping The Rover, a mesmerizing, minimalist Australian thriller that shows the up and coming filmmaker is much more than a one-trick Animal Kingdom pony.

Edge of Tomorrow is a rousing adventure filled with pulse-pounding thrills and surprising dashes of character-driven humor.

The Fault in Our Stars is an eye-opener. Boone does a masterful job most of the way through, everything anchored by a performance from Woodley that’s as terrific as any I’m likely to see delivered in all of 2014.

For No Good Reason is still awfully entertaining. The archival footage is incredible, while the fashion in which Stedman works is as one of a kind and as uniquely original as anything a person possibly ever could have imagined it was going to be.

Rigor Mortis is both a clever homage to Hong Kong’s luminous horror history while also a disturbingly invigorating example that its future is in good hands, Mak’s directorial debut an impressive one indeed.