Anglo-Italian Roan Johnson's third feature is a grab bag of naïve teens and unmodulated hot-headed adults who wear out their welcome early on.
Too many caricatures make the film feel only haphazardly invested in the intelligent commentary it struggles to balance with broad satire.
The joys of back-stage machinations are joined to waggish digs at the Church hierarchy, set off by nervy writing and Paolo Sorrentino's usual visual feast.
A young Frenchman in 1919 travels to Germany to meet the parents and fiancée of his dead friend in this semi-arty costumer lacking the potency of the original.
Unfolding in classic actioner style, this rousing gem has everything one wants for an evening's entertainment, from the irresistible pull of a spy thriller to terrific technical specs.
What means to be a sympathetic reflection on the desire for faith is weakened by a calculated solemnity that pushes away an empathic response.
A thirtysomething single ultra-Orthodox woman tests her resolve as well as her faith that God will provide her with a husband in twenty-two days.
A highly personal yet universally affecting documentary shot in Syria, encompassing the euphoria of protest to despair in the face of the unthinkable.
A visually rich though narratively challenging film that aims to fold Buddhist ideas into an imaginative reflection on the unstable notion of anonymity.
An unpretentious delight that replicates the quasi-stilted dialogue of language classes to disarmingly grant deeper life to the immigrant experience.
A nice guy trapped when his car is crushed by a collapsed tunnel tries to maintain his spirits while the rescue operation flounders.