Josh Wise

The Wonder coheres as a powerful study of the way in which people are cloistered by their own stories.

It’s to Jennifer Lawrence and Brian Tyree Henry’s credit that what lingers is their characters’ uncertainty.

Enys Men might have been called A Blueprint for Revival: an attempt to restore to horror something that Jenkin feels has been lost. If only it didn’t lack the power to truly frighten us, it may have flourished.

When it decides to sober up, the film’s comedy lurches into awkward attempts at melancholy.

Jamila C. Gray lends credibility to Brianna Jackson, who happens to be searching for just that. She plays the damn role.

After a while, you want to know what line of inquiry the film is pursuing—what greater paths it’s wandered to.

It’s tough to root for the pair when neither of them experiences genuine hardship. In the end, all dramatic conflict here is sunny and soporific.

Outlaw King rattles along at a bracing pace, but the assured bloodshed of the final showdown looms large, casting a weary shadow over the film’s middle section.

What happens in this neo-western isn't dictated by the tried and true themes of classic westerns but by the films themselves.

The documentary's labored juxtapositions create fission, the feel of a director scrambling to dictate the game.