Despite the impressive score and cinematography, there isn’t much to read into in THE ENDLESS RIVER due to an underdeveloped central romance and societal commentary.
Pedro Almodóvar’s signature style is on full display in JULIETA, yet its plot doesn’t make an entirely convincing transition from Alice Munro’s novel.
Ben Wheatley’s adaptation of J.G. Ballard’s classic novel makes good on its 1970s setting and thematic prescience, but ultimately drowns beneath an ironic sense of boredom.
Rebecca Miller’s latest is an an unconvincingly self-aware riff on Woody Allen’s early romantic comedies.
Jodie Foster’s MONEY MONSTER is let down by its failure to tell the story of the financial crisis with sufficient depth and coherence.
For all its lavish production design, the latest Disney adaptation of Lewis Carroll’s ALICE stories is plagued with both bustle and boredom.
The horror undertones and feminist revisionism of Civil War thriller THE KEEPING ROOM aren’t enough to salvage it from over-familiarity.
I SMILE BACK’s gamble on Sarah Silverman as a dramatic lead backfires, with a screenplay and direction that is too eager to capitalise on her public persona.
It might reach for timeliness and realism, but TIME OUT OF MIND is too unsubtle in its design to properly serve its compelling cast.
It might have charming character dynamics to spare, but the latest CAPTAIN AMERICA suffers from a lack of coherence and ends Steve Rogers’ solo saga in disappointing fashion.