Jennifer Kent’s "The Babadook" is a horror film that abjures cheap thrills and builds its terrors securely atop a base of all-too-familiar human pain.
Alejandro González Iñárritu has made something that looks and feels unique, with a cast that works with such ensemble perfection I hesitate to single anyone out.
"Rosewater"—set in an Iranian prison—is painful, poignant, at times funny and humanizing. "Nightcrawler"—a monster movie that wants to be a social indictment—isn't.
The reduction of character and motive to diagrammable banalities seems of a piece with this film’s lack of interest in creating anything resembling human emotion.
A mystery story, a portrait of marriage, and—more than anything else—a satire on big American expectations.
What’s quietly revelatory about 'Love Is Strange' is that its creators didn’t feel the need to turn it into a social-protest document.
Both 'buddy' films chart the male temperament as mortality heaves into view, and protagonists live in a world where religion seems to have vanished.
'Calvary' belongs in a select company of films that deal powerfully with the plight of a priest who finds himself at odds with his community.
The obsession with time lies at the core of Linklater’s singular new film, 'Boyhood.' In a sense it is misleading to call it new, since work on it began in 2001.
More than most comedians, Robin Williams exemplified the cliché of the funny man being an inverted sad man.
Austere, quiet, its gravity tempered by bursts of harsh irreverence, 'Ida' grabs your imagination and won’t let go.