Taken all together, it’s hard to understand how the film, an adaptation of Ron Rash’s Depression-era novel, could ever go wrong. All the same, this movie is close to disastrous, and while production values are high and performances are strong, sitting through all 109 minutes is virtually impossible.

While The Divergent Series: Insurgent isn’t a disaster, while it’s far from horrible, that doesn’t make it a success.

The Gunman is too serious to work as giddy action pulp and too stupid to resonate as a ticking clock drama and as such it’s nothing more than an unfortunate misfire that utterly fails to satisfy.

f a dream is a wish your heart makes when you’re half asleep, then Disney’s live action take on their animated classic Cinderella (and, much like that 1950 favorite, it only utilizes the most basic of elements found in Charles Perrault’s adaptation of the timeless fairy tale) is the blissful fruition of that hopeful fantasizing.

A stunning piece of cinema, It Follows is a darkly bleak sojourn into adulthood that’s more than just your run-of-the-mill genre entry, Mitchell crafting a modern American masterpiece of disaffected youth dealing with the repercussions of their revolt that will undoubtedly stand the test of time.

October Gale is frustrating, there’s no getting around that fact, and it goes without saying that I wanted more from the film that it sadly was able to give me.

Less would have been more as it pertains to Run All Night.

[Wild Canaries], produced by Takal, written and directed by her real life husband Levine, is unquestionably ambitious, skewering itself at every turn while also paying homage to many of the more paranoid and schizophrenic classics of the genre (films like The Parallax View, Charade, Shadow of a Doubt and The Marathon Man come to mind). It’s clear the filmmaking team is having a blast, a party the entire cast seems gleefully willing to be a part of, everyone throwing themselves into it all with genuine exuberance playing things straight even when the motion picture itself is brazenly winking at the audience.

A Best Foreign Language Film Oscar nominee, this deliriously entertaining, confidently composed satire of cultural, gender and class politics and mores is astonishing, deftly moving from one story to the next with freewheeling enthusiasm. While each segment is unconnected from those surrounding it, they all manage to convey common themes eviscerating the status quo, showing while catharsis and vengeance can go hand-in-hand, the price extracted for revenge is almost always worse than the cost of turning the other cheek.