United States
Ingrid Goes West is a great commentary on our obsession with social media but while it is a good comedy it fails to be truly remarkable.
Lightningface is a 20 minute short film starring Oscar Isaac as his life changes drastically after being struck by lightning.
The Layover has its moments of humor, but it is bogged down by an unfocused script and overly clichéd characters.
While full of plot holes and shakes characters, What Happened to Monday is still a weird, yet perfect movie for a night in.
With its timely statement about diversity in America, the bland and boring Bushwick fails to meet expectations.
Some of the lines in Person to Person may ring with a certain cliched timbre, but perhaps that should only be expected from a film that trades in tired New York stereotypes that are by their very nature familiar and inviting.
It’s not one of the horror greats that many people make it out to be, but Saw is crafty and ambitious enough to warrant a horror buff’s time.
Death Note has plenty of faults, but watched with the brain firmly in the “off” position, it becomes easy to enjoy – especially as it manages to feel more cartoonish than the anime it’s based on.
Good Time is a fast-paced, oscillation of raw emotion and manic suspense that plays directly to Pattinson’s continually emerging thespian strengths.
Despite a talented cast and crew, The Glass Castle ultimately fails as an adaptation of the famous memoir due to some questionable decisions.
Once Upon A Time In Venice is clearly a film made by cinephiles, but the scattered subplots and underdeveloped characters combine for an overall misfire.
Plotless, joyless and cash-grabbing, The Emoji Movie deserves the brunt of our wrath because it showcases everything wrong with Hollywood.
Pilgrimage is rife with metaphors connecting the Dark Ages with contemporary issues, making us wonder if we’ve advanced as much as we think.
A Boy Called Po lacks a realistic exploration of autism, falling into common tropes surrounding the depiction of autism in Hollywood films.
As a coming-of-age tale, Liza, Liza, Skies Are Grey is inoffensive, as a reminiscence of the Cold War years, it’s inert, as a whole it’s completely inconsequential.