
Ballerina
|

The movie doesn't do enough
that's either different or more imaginative than anything we've already seen
from this franchise.
|

The
Life of Chuck
|

This is a boldly beautiful
and haunting film in which every answer about its narrative only raises more
questions about the beginning and end of life, as well as everything in between.
|

Dangerous
Animals
|

The premise is
striking enough—to put it mildly—to grab our attention but doesn't
overshadow the other mechanics of the script.
|

The
Ritual
|

It's an ordinary, wholly predictable exorcism tale.
|

I
Don't Understand You
|

It takes quite a leap of understanding—both
in terms of logic and sympathy—to even try to accept where this movie goes.
|

Karate
Kid: Legends
|

Karate Kid: Legends
is two very different concepts for a reboot/spin-off/sequel, unceremoniously
crammed together into an awkward mishmash of a movie.
|

Bring
Her Back
|

The movie
becomes increasingly cruel.
|

The
Phoenician Scheme
|

The filmmaker encourages
us to observe his cast of eccentric characters talking, in action, and quietly
wrestling with the story's bigger theme.
|

Tornado
|

Tornado is effective because it's a
clean and uncomplicated story, told with efficiency and proficiency.
|

Bono:
Stories of Surrender
|

The very format of the material prevents this
movie—not to mention the subject himself—from feeling truly honest on a
deeper level.
|

Lost
in Starlight
|

This is a film that's clearly complex in its visuals, but the real
depth of it is how sneakily complex its central relationship becomes.
|

Fluxx
|

The questions of this movie are far more
intriguing than its answers, which are either too imprecise to make sense or too obvious to really care.
|
|
|

Ghost
Trail
|

Ghost
Trail is an effective thriller, to be sure, but mostly because it's one with
an overwhelming sense of regret and an active conscience.
|
|
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