Natalia Winkelman

In the hands of Aïnouz, the material is at once grating and boring, not deadpan enough to arrive at absurdism nor subtle enough to become a curio.

Here is a film that is at once self-consciously experimental and intensely, almost uncomfortably earnest. It really, really wants to tell us that the boys’ wild cries of defiance are also a cry for help — but that was clear from the start.

Despite the muddle in this film directed by Philip Barantini, Brown shines, bringing a buoyancy and bite that makes the movie immensely more watchable than comparable entries into the young-adult action-adventure genre.

Like tulle that tears at the faintest touch, “Couture” offers a gauzy glimpse into the world of high fashion. Precious little occurs, and what does is tinged with sentimentality and stretched gossamer thin.

Brimming with style and spirit up to the final scene, Maddie’s Secret is among the most daring movies I’ve seen this year. That it simultaneously guarantees a giddy good time is a minor miracle.

An often miraculous and occasionally exasperating Japanese anime film.

Forastera is an exquisitely deconstructed ghost story, a muted mystery that beguiles while remaining deeply grounded in its evocative setting.

This is an upsetting film with an abrupt ending, but the feeling of despondence it imposes upon the audience is part of the point.

As its return to the IMAX — I mean, silver — screen, the saga could do worse than this movie. With their main guy’s face behind metal, that’s a more than respectable showing.

A crafty reveal does not a clever film make, and even at a merciful 80 minutes, the device eventually feels more tired than the sullen Erin, who soldiers on through her suffering.