Simply put, there’s not much suspense here, and Fly’s occasional efforts at thriller-style confrontations and killings prove less fascinating than Pasha’s justifications

The story finds Simmons, as a 60ish Simmons-like artist named Ellie, dashing away from New York and her teaching duties to work and relax in a more successful acquaintance’s plush country manse

This epic, the first of two final Avengers films, finds the Class of ‘12 — the core Avengers — getting together for one last rager, joined by select newbies and spazzes from the ranks of sophomores and freshmen

Working from a novel by Willy Vlautin, Haigh has committed himself to making a boy-and-his-horse movie that’s scraped free of everything false or sentimental about the genre

The film opens with a dreary series of fake-outs and fantasies, culminating in a gunfight and car chase that suggest Broken Lizard would rather be making a different kind of movie

Produced for half a million, and shot (by cinematographer Yuri Neyman) sometimes in Tsukerman’s own apartment, Liquid Sky has always been caught smack between delirious curio, avant-garde put-on, exploitation cheapie and naive masterpiece

Brad Anderson’s talky-smartish thriller Beirut, like the first half of Million Dollar Arm, sets Hamm’s sharpie loose in a country — in this case a fractious Lebanon — where the rules aren’t his

If the original cut was a couple of Desplechin distinct movies loaded into a woodchipper and then splatted all out on the screen, this new, longer Ismael’s Ghosts at least can be said to beef up the splats

The mode is comic frustration, the story centered on a reasonable man (played by Armie Hammer) frustrated at the eccentricities of a wild-haired genius (Geoffrey Rush, as the painter Alberto Giacometti)

Curran’s film, often enthralling and upsetting, represents a welcome break in the hagiographic treatment the longtime Lion of the Senate enjoyed in the years leading up to his 2009 death

This Terror, developed by David Kajganich and certainly the best of AMC’s prestige-TV horror series, is always suspenseful, superbly acted, shrewdly paced and committed to the summoning up what the experience of Arctic isolation might actually have been like

Even as Maoz seems to be addressing his themes head on, he’s cleverly setting up the conditions for tragedy, and when it hits, it’s somehow both shocking and inevitable

Uthaug’s film, like the recent reboot of the video-game series, gives us a grittier Lara Croft, one stripped of the advantages of her wealth and all bruised up from the rigors of her adventure

Here is a movie made for and about the people who believe they are the essence of American normalcy, a movie that dutifully flatters and celebrates them even as it works to expand who that normalcy actually includes

Thoroughbreds’ best trick is to convince us, through the aching stillness of its stars’ eyes, that it might not actually be a twisty, twisted thriller inspired by the likes of Strangers on a Train

This first English-language feature from Italian director Paolo Virzi (Human Capital, Like Crazy) is at times moving in its sincerity, thanks to stellar casting and the director’s clear-eyed perspective on aging and dementia.

An episodic ensemble drama organized around the logic of theme rather than of traditional narrative, the film concerns above all else accumulation and dispersal, in the American vein

It’s often inspired in its cutting and composition, and Garland has crafted sequences of strange splendor, including a too-short cosmic light show

The Ritual finds a quartet of British lads/drips hiking through the deserted woods of northern Sweden, a labyrinth of ancient trees with trunks that stretch up forever.

When these performers get the chance to exchange dialogue, to react to each other rather than declaim the movie’s themes, Film Stars Don’t Die in Liverpool rouses to life

The Insult is a little pushy, sometimes even tough to swallow, but no more than actual geopolitics

The film’s genius is in its restless tumult, its parade of faces and wisecracks and subplots, its sense of its leads not actually being much more interesting than any of the extras teeming around them.