"People never make films about ordinary people who don't really do anything," a young woman complains near the beginning of Alex Ross Perry's "Golden Exits," a dense, defiantly prickly film about…
A sporadically fascinating but airless adaptation of Jordan Harrison's Pulitzer-shortlisted study of family, memory and the artificial intelligence that binds them.
Frankie, the oh-so-beautiful, oh-so-confused teenage protagonist of "Beach Rats," isn't much for answering questions.
Australian director Cate Shortland's films trade in a kind of threatening beauty.
Isabelle Huppert, "Manchester by the Sea," "Moonlight" and "Love & Friendship" all take multiple honors at the London Critics' Circle Awards.
Sometimes a film is precisely no more and no less than the sum of its parts, and that's just fine.
In case it didn't court "Brokeback Mountain" comparisons directly enough with its tale of two young sheep farmers finding love in a hopeless place, "God's Own Country" seals the deal with one…
It's to the credit of "The Wound," a stark, stirring variation on the form from a little-filmed corner of South Africa, that it should prompt at least one outright gasp as it details the fallout of…
Her film may have far too many weighty matters on its mind to leave much room for petty resentments, but one wonders if writer-director Maggie Betts isn't the teeniest bit annoyed that a certain…
You needn't wait for a long list of executive producers in the closing credits to detect the presence of David Gordon Green hanging over "Dayveon."
Not everyone subscribes to the hoary old maxim that school days are the best of your life, but even for those who do, along comes "In Loco Parentis" to prove that they could have been better.