Boyd van Hoeij

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For 225 reviews, this critic has graded:
  • 44% higher than the average critic
  • 7% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.4 points higher than other critics. (0-100 point scale)

Boyd van Hoeij's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 The Second Mother
Lowest review score: 10 Another Me
Score distribution:
  1. Negative: 7 out of 225
225 movie reviews
    • 82 Metascore
    • 100 Boyd van Hoeij
    Muylaert does a deft job here of plotting her story and setting up her characters and their predicaments in ways that immediately invite reflection.
    • 98 Metascore
    • 100 Boyd van Hoeij
    The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
    • 83 Metascore
    • 100 Boyd van Hoeij
    An explosive combination of highly personal moral drama and a wider, scathing portrait of a country in which corruption and greed seem to be the only shared values left, this well-oiled narrative machine is further aided by a clever ticking-clock mechanism that actually ratchets up the tension the longer the characters’ vodka-soaked, blame-game speeches are allowed to go on.
    • 85 Metascore
    • 100 Boyd van Hoeij
    Though clearly not a proposition for either devout Christians or audiences for whom the multiplex is a temple, this is the kind of take-no-prisoners art house fare that advances and deepens the understanding of a singular director’s oeuvre as a whole.
    • 81 Metascore
    • 90 Boyd van Hoeij
    Taken separately, these two medium-length works would be diverting but also rather minor Hong, with their typical dry humor and observations about life and love. But taken as a single, 120-minute work, the small differences in the dialogue and attitudes of parts one and two reveal nothing less than the humanity, inner life and subconscious decision-making processes of the characters, turning the whole into one of Hong’s strongest features to date.
    • 56 Metascore
    • 90 Boyd van Hoeij
    Two minor problems in the closing reels hold the film back from instant-classic status.
    • 81 Metascore
    • 90 Boyd van Hoeij
    Beguiling in its strangeness, yet also effortlessly evoking recognizable emotions such as loneliness and the feeling of being stuck in a dead-end town and life, this moody and gorgeous film is finally more about atmosphere and emotions than narrative -- and none the worse for it.
    • 70 Metascore
    • 90 Boyd van Hoeij
    Jean-Francois Laguionie’s consistently enjoyable, inventive and beautifully crafted tale is a color riot suitable for all ages.
    • 80 Metascore
    • 90 Boyd van Hoeij
    The sobering message of the film is that independence doesn’t really mean anything in Africa if you’ve got resources that richer countries have an interest in and a general population that remains woefully poor and uneducated.
    • 72 Metascore
    • 90 Boyd van Hoeij
    The film’s only weakness is its ending, which is so subtle it risks being interpreted by the majority of viewers as enigmatic or unclear.
    • 68 Metascore
    • 90 Boyd van Hoeij
    Newcomer Van Acken is a phenomenal find and she’s never less than believably torn between doing the right thing and being her own person.
    • 75 Metascore
    • 90 Boyd van Hoeij
    Much of the feature’s quietly accumulated emotional power derives from the fact that viewers have to connect some of the dots themselves. Indeed, just like in the subject’s own work, the imagination of the audience is as important an ingredient for the final result as what is actually written or suggested.
    • 77 Metascore
    • 90 Boyd van Hoeij
    [An] evocative and atmospheric feature.
    • 77 Metascore
    • 90 Boyd van Hoeij
    One of Apprentice’s strongest selling points is how, in a very compact yet pleasingly dense way, it takes viewers into both the world of the executioners and the executed criminals’ family members who remain behind, two often almost ignored categories in films touching on capital punishment.
    • 89 Metascore
    • 90 Boyd van Hoeij
    A soft-spoken and perceptive film set in the Modernist small-town marvel that is Columbus, Indiana, this is a specialized art house treat that announces the arrival of a new director who combines small-scale, Ozu-like humanism with an impressive command of the formalist possibilities of film.
    • 73 Metascore
    • 90 Boyd van Hoeij
    The way in which Ozon again uses mirror images, which reveal the similarities between the French and the Germans just after the war, or the way Fanny and Anna come to possibly mirror each other again suggest that a master storyteller is at work.
    • 76 Metascore
    • 90 Boyd van Hoeij
    The unknown cast is aces, and Moshe inscribes his loquacious film in the Western tradition without overdoing the references to the classics.
    • tbd Metascore
    • 90 Boyd van Hoeij
    Beautifully played and impeccably lit and composed, this high-quality family drama takes its time to introduce its flawed but human protagonists and then steadily builds toward a payoff that’s at once cathartic and artfully restrained.
    • 82 Metascore
    • 90 Boyd van Hoeij
    This is essentially an absorbing and intelligent exploration of queer desire spiced up with thriller elements.
    • 76 Metascore
    • 90 Boyd van Hoeij
    The 31-year-old Chemla (Camille Rewinds) is a revelation in the title role and utterly mesmerizing and credible whether she’s playing Jeanne at 20 or at 47.
    • 78 Metascore
    • 90 Boyd van Hoeij
    A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
    • 76 Metascore
    • 80 Boyd van Hoeij
    Just like a cubist painting, what happens in the film doesn’t necessarily resemble real life in a narrow documentary sense but instead gives the viewer something else: a chance to consider certain behavior from various sides and on a more abstract level.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The film is much more about the way in which people perceive one another than about the way people really are.
    • 78 Metascore
    • 80 Boyd van Hoeij
    Jodorowsky keeps circling back to the question of who he is and how poetry is inextricably linked with how he experiences the world.
    • 83 Metascore
    • 80 Boyd van Hoeij
    The Salt of the Earth doesn’t reveal so much as gracefully confirm that the empathy and humanism that make Salgado’s photojournalistic work so special are also a part of the artist’s outlook on life.
    • tbd Metascore
    • 80 Boyd van Hoeij
    German Concentration Camps Factual Survey is a time capsule as much as a direct historical document, showing not only what the Allied Forces found when they first arrived at the Nazi concentration camps but also how the British government of the time thought it was appropriate to communicate about the Nazi atrocities.
    • 79 Metascore
    • 80 Boyd van Hoeij
    By contrasting what the investigators are trying to uncover with the youthful adventures of the children, Dumont seems to suggest that the world of adults, despite appearances, is so rotten that it can only be stomached and perhaps even saved by two things: laughter of the tragicomic kind and a child-like innocence that somehow needs to be maintained into adulthood.
    • 87 Metascore
    • 80 Boyd van Hoeij
    My Golden Days more often privileges emotional truths over historical veracity. This helps not only to make the past dilemmas of the protagonists feel more immediate and real, but also suggests how, looking back, we see our lives as a succession of emotional experiences, not dry historical facts.
    • 69 Metascore
    • 80 Boyd van Hoeij
    The sound of the zipper on Diane’s handbag, for example, becomes extremely ominous in Mermoud’s capable hands, while two distinct musical themes, written by Christian Garcia and Gregoire Hetzel, respectively, further enhance the mood and help establish the film’s bona fides as a classy and classical psychological thriller.
    • 86 Metascore
    • 80 Boyd van Hoeij
    Patterns emerge by virtue of repetition.
    • 74 Metascore
    • 80 Boyd van Hoeij
    Initially somewhat wispy-feeling, this 72-minute feature transforms in its final reel from an ironic divertissement to a work of considerable feeling and intensity.
    • tbd Metascore
    • 80 Boyd van Hoeij
    Strictly in terms of basic plot, Eastern Business isn’t exactly innovative. But what makes the film stand out is how perceptive it is about Moldova’s place in (Eastern) Europe and how it uses its characters’ behavior to illustrate points about human behavior that’s recognizable the world over.
    • tbd Metascore
    • 80 Boyd van Hoeij
    A scrappy but at times uproarious Romanian comedy.
    • 80 Metascore
    • 80 Boyd van Hoeij
    This challenging but refreshingly candid nonfiction feature is the debut of the talented Swedish-Danish filmmaking couple Frida and Lasse Barkfors, who have not only found a fascinating subject but who also manage to build a case against isolating sex offenders without resorting to such facile shortcuts as voiceovers or heavy editorializing.
    • 63 Metascore
    • 80 Boyd van Hoeij
    What we're looking at is, in essence, an artwork that looks at other art — a concept film about a conceptual art project. It suggests that a one-minute part can be the whole for one viewer or that, conversely, the whole is made up of an infinite amount of smaller parts that can each tell only a small part of the story.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The film, also written by Blair, manages an impressive balancing act in term of its tricky, quicksilver tone, which constantly oscillates between foreboding, menacing, hilarity and absurdity without ever feeling incongruous.
    • 82 Metascore
    • 80 Boyd van Hoeij
    Thankfully, Finley isn’t only adept at writing and directing good dialogue but he also understands how images and sounds can enhance his story.
    • 82 Metascore
    • 80 Boyd van Hoeij
    Though the film’s two halves aren’t equally as strong, with the second half lacking some of the complexity and breathtaking sweep of part one, this is an impressive step up for Quillevere.
    • 64 Metascore
    • 80 Boyd van Hoeij
    Noxon, who also wrote the screenplay, manages to explore dark and complex issues while frequently leavening them with unexpected moments of humor.
    • 75 Metascore
    • 80 Boyd van Hoeij
    The constant combination of highbrow and lowbrow elements is undeniably French but also very effective.
    • 87 Metascore
    • 80 Boyd van Hoeij
    This is another solid and provocative feature from Ostlund.
    • 89 Metascore
    • 80 Boyd van Hoeij
    Utterly uneasy to watch but strikingly and confidently assembled, the film is a powerful aural and visual experience that doesn’t quite manage to sustain itself over the course of its running time, but is a remarkable — and remarkably intense — experience nonetheless.
    • 86 Metascore
    • 80 Boyd van Hoeij
    A nail-biter that’s actually quite light on action but so well-scripted and shot, it’s nonetheless edge-of-your-seat material.
    • 78 Metascore
    • 80 Boyd van Hoeij
    Though the story has undergone quite a few changes, what’s intact is the novel’s grittiness and emotional honesty, which more than compensates for the occasional coming-of-age cliche.
    • 67 Metascore
    • 80 Boyd van Hoeij
    A highly political movie that's also a personal story of two men going head-to-head while the women around them are left to pick up the pieces, this gorgeously shot and classily acted feature might be a reel too long but is nonetheless a fascinating piece of work.
    • 80 Metascore
    • 80 Boyd van Hoeij
    Though the pint-sized protagonist is never far out of sight, the film’s vision is anything but limited, as various encounters in the desert conjure a vivid picture of a world that has remained unchanged for centuries but that is quickly coming undone.
    • 63 Metascore
    • 80 Boyd van Hoeij
    The Eyes of My Mother is both strange and strangely enthralling.
    • 66 Metascore
    • 80 Boyd van Hoeij
    Before anyone has even said anything, the economy of Barrett as a storyteller is abundantly clear.
    • 74 Metascore
    • 80 Boyd van Hoeij
    If some anime films also feature more painterly details in the backdrops, especially when depicting nature, what feels new here is the attention to details such as the glow of light sources, including candles and lanterns, that are warmer and more realistically detailed than usual.
    • tbd Metascore
    • 80 Boyd van Hoeij
    Caissy and his editor, Mathieu Bouchard-Malo, manage to construct something that acquires a cumulative force that speaks compellingly and much more generally about the intersection of youth, education and personal morality than the specific cases of these often nameless, zit-sprinkled pieces of work.
    • 71 Metascore
    • 80 Boyd van Hoeij
    Ribeiro’s screenplay, which is marbled with moments of humor as well as emotion, feels extremely well-tuned into the conflicted emotional lives of his adolescent characters, who often retreat into the safety of their childhood comfort zone after every exciting, but also scary, excursion into the adult unknown.
    • 82 Metascore
    • 80 Boyd van Hoeij
    This is a sprawling yet intimate narrative, constructed almost entirely of in-between moments rather than the big turning points and tragedies.
    • 77 Metascore
    • 80 Boyd van Hoeij
    Like in all of the director’s work, psychologically reductive readings of the characters are absent, though intriguing performances give audiences a way into the material.
    • 72 Metascore
    • 80 Boyd van Hoeij
    Eccentric and occasionally hilarious, this is yet another uniquely Bozonian creation, which this time explores the transmission of ideas between teachers and students and the tricky notion that our good side might not necessarily be our best side after all.
    • 72 Metascore
    • 80 Boyd van Hoeij
    The character development here is understated but beautifully laid bare by a quartet of top actors.
    • 90 Metascore
    • 80 Boyd van Hoeij
    An intriguing exposé of a gripping story.
    • 81 Metascore
    • 80 Boyd van Hoeij
    [Waititi's] nimble adaptation here combines solid writing with an entire bag of filmmaking tricks that includes visual gags, unexpected cuts and quick montage sequences to score laughs from the get-go. He also cleverly exploits who these people are to get the audience in stitches.
    • 72 Metascore
    • 80 Boyd van Hoeij
    The strength of Asaph Polonsky’s debut feature, One Week and a Day (Shavua Ve Yom), is that it’s actually a bittersweet comedy-drama in which the pain is as real as the frequent chuckles.
    • 82 Metascore
    • 80 Boyd van Hoeij
    A low-fi but beguiling mixture of intellectual discourse and emotional rollercoaster from Spanish maestro José Luis Guerin.
    • 77 Metascore
    • 80 Boyd van Hoeij
    What makes the film so accessible despite its controversial subject matter is Wnendt’s total command of tone, which is never vulgar or intentionally out to shock.
    • 81 Metascore
    • 80 Boyd van Hoeij
    By simply contrasting short sequences that each tell a small story, Wiseman constructs a much larger mosaic.
    • 79 Metascore
    • 80 Boyd van Hoeij
    Lafleur delivers an affecting, funny and eccentric -- in the best sense of the word -- meditation on that in-between state that people in their early twenties find themselves, as they are technically old enough to participate fully in all of life’s activities but they still lack the experience to know what they really want or what’s really good for them.
    • 82 Metascore
    • 80 Boyd van Hoeij
    It is absolutely fascinating to watch how Puiu X-rays his characters to show how every single person onscreen belongs to several groups or affiliations at once...and how every one of them is either willing or forced to compromise parts of who they are to continue belonging to all these groups.
    • 57 Metascore
    • 80 Boyd van Hoeij
    The use of both dialogue and film language is sophisticated; sometimes Ismael’s Ghosts borders on overripe melodrama, while at other times it relies on genre tropes but then gives them an unexpected twist.
    • 67 Metascore
    • 80 Boyd van Hoeij
    There are no big surprises in store in terms of where this setup is headed...But the pic’s pleasures are nonetheless numerous, starting with its talented cast.
    • 62 Metascore
    • 80 Boyd van Hoeij
    Another effective, great-looking and well-acted Scandinavian crime film based on a bestselling novel.
    • 80 Metascore
    • 80 Boyd van Hoeij
    Instead of a straightforward narrative arc for the small cast of characters, the film -- gorgeously shot and framed by Cemetery of Splendor cinematographer Diego Garcia -- combines a documentary-like look at their everyday lives with a fascinating if not entirely clear-cut exploration of body and gender issues.
    • 85 Metascore
    • 80 Boyd van Hoeij
    What sets Courgette apart is the constant attention to how each incident and experience influences and builds character, which is how these children can slowly ease themselves into their future grown-up selves.
    • 80 Metascore
    • 80 Boyd van Hoeij
    It's a tough and cerebral but finally illuminating film.
    • 91 Metascore
    • 80 Boyd van Hoeij
    Part of the beauty of Nostalgia is that the many metaphors and surprising parallels between the universe, archaeology and Chile’s recent past rise organically from the material.
    • 81 Metascore
    • 80 Boyd van Hoeij
    Lindholm here makes yet another modestly scaled but effective drama that asks more uncomfortable questions than it answers.
    • 78 Metascore
    • 80 Boyd van Hoeij
    The director clearly takes depression and suicidal urges and the possibility they may be hereditary very seriously but that doesn’t mean that the film isn’t often very witty.
    • 85 Metascore
    • 80 Boyd van Hoeij
    The narrative’s general rites-of-passage layout is of course extremely familiar, though, especially for foreign audiences, many of the stories-within-stories and characters that dot this particular journey will feel new as well as delightful.
    • 69 Metascore
    • 80 Boyd van Hoeij
    What’s finally tragic about their destiny of choice is not that the couple succeeded in becoming immortal together but that everything leading up to their death was the result of very banal actions and shot through with an extreme sense of loneliness.
    • 72 Metascore
    • 70 Boyd van Hoeij
    The story’s anchored by strong performances from Belgian star Cecile de France (The Kid With a Bike, Hereafter) and French singer-turned-actress Izia Higelin (Mauvaise fille), who have a natural chemistry that’s not only credible but actually infectious.
    • 71 Metascore
    • 70 Boyd van Hoeij
    Though perfs and dialogue remain somewhat theatrical, the combined acting prowess of the trio ensures the emotions are heartfelt.
    • 37 Metascore
    • 70 Boyd van Hoeij
    Dante again smoothly combines moments of romantic and screwball comedy, schlocky genre elements and an overarching retro feel for this cute and pretty efficient zom com.
    • 75 Metascore
    • 70 Boyd van Hoeij
    [A] sleekly assembled and intriguing if clearly very commercial proposition.
    • 75 Metascore
    • 70 Boyd van Hoeij
    A low-key verite charmer.
    • 72 Metascore
    • 70 Boyd van Hoeij
    A beautifully animated tale of the growing friendship and occasionally rather cloying emotional travails of two 12-year-old girls.
    • 73 Metascore
    • 70 Boyd van Hoeij
    Four Days in France is certainly not a character- or narrative-driven drama, an impression reinforced by understated acting of the cast. What the film does offer is gorgeous shots of the French countryside and an idea of how different gay men navigate present-day life in France, especially away from large urban centers.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Rosefeldt and a very game Blanchett spring one surprising creation on the viewer after the other. But what it all adds up to is of course up for debate.
    • 75 Metascore
    • 70 Boyd van Hoeij
    Mostly lighthearted and, especially in its closing reels, rather clichéd, the character-driven film nonetheless manages to gently resist the temptation to turn into a full-throttle and heart-warming crowdpleaser.
    • 82 Metascore
    • 70 Boyd van Hoeij
    Legrand's decision to leave things intentionally unclear early on so he can draw the audience into the family’s problems and consider them from various sides finally works against the third act’s cold hard facts.
    • 80 Metascore
    • 70 Boyd van Hoeij
    There is no denying the cumulative power of the material, in large part due the protagonists’ endless reservoirs of humanity, dignity and selflessness in the face of one of the world’s worst biggest current and most incomprehensible tragedies. Light on background and contextual facts, Last Men in Aleppo speaks very loudly from the heart.
    • 77 Metascore
    • 70 Boyd van Hoeij
    Because it wants to be a primer on a serious subject, an exciting cinematic exposé and an argument for more openness and some kind of regulatory framework, the necessities of these different strands end up getting in each other’s way.
    • 80 Metascore
    • 70 Boyd van Hoeij
    It is clear that Serraille has made a portrait of a very specific individual but that she’s also saying something more general about her own generation.
    • 71 Metascore
    • 70 Boyd van Hoeij
    This is a lean and efficient mix of thriller, drama and socio-political commentary.
    • 66 Metascore
    • 70 Boyd van Hoeij
    The first couple of reels are very loosely structured, with no one identified onscreen, which gives the film a verite edge but which also means that it takes a good while for the material to find its footing and make it clear what and, more importantly, who, the film is exactly about.
    • 79 Metascore
    • 70 Boyd van Hoeij
    Only in an extended sequence late into the proceedings...do we get a sense that Pineiro has tried to move outside of his comfort zone and does the film really become affecting.
    • 62 Metascore
    • 70 Boyd van Hoeij
    The film deftly explores the story's complex moral issues from several sides.
    • 61 Metascore
    • 70 Boyd van Hoeij
    In terms of its form, the film is rather classically assembled, combining a voice-over narration with archive material (some of it never previously seen) and spectacularly filmed and staged shots of the now 83-year-old Lorius as he witnesses the havoc caused by the climate change he saw coming some 30 years ago in various locales around the world.
    • 54 Metascore
    • 70 Boyd van Hoeij
    Based on a true story that's perhaps less famous than some others but just as intriguing, this serious-minded — no Helen Keller jokes, please — period film is nonetheless quite entertaining and, finally, moving.
    • 75 Metascore
    • 70 Boyd van Hoeij
    What makes the film so much fun to watch is not only its clear underdog narrative — the story's only halfway told by 2007, with several more surprising twists in store — but also that the no-nonsense commoners are such pleasant company, recounting how things went in candid, soundbite-ready and often amusing ways.
    • 43 Metascore
    • 70 Boyd van Hoeij
    A more mature work from actor-director-producer Zach Braff that feels like a Garden State for grown-ups.
    • 67 Metascore
    • 70 Boyd van Hoeij
    Though the political background is fascinating, what finally resonates is that Schirman manages to humanize both Yousef and his Israeli handler, Gonen Ben Yitzhak, who would become an unlikely friend and ally.
    • 76 Metascore
    • 70 Boyd van Hoeij
    By cataloging every spoon of food not eaten, every sip of water not swallowed and every sigh and every groan uttered, the myth becomes a man and the inherent paradox of being a divine ruler is revealed.
    • 77 Metascore
    • 70 Boyd van Hoeij
    Though somewhat slow out of the starting blocks, this finally caustic drama, set in early 1980s Bratislava (then in Czechoslovakia), accumulates power and insight as it builds over the course of a tense parents-teachers conference, punctuated with the necessary flashbacks.
    • 67 Metascore
    • 70 Boyd van Hoeij
    An enticing, if not extremely insightful, overview of the maverick filmmaker’s work.
    • 64 Metascore
    • 70 Boyd van Hoeij
    While the gorgeous widescreen landscapes have a pencil-and-aquarelle quality, the characters themselves are literally rougher-edged, a clever reminder of the hand-drawn, sketchlike quality of traditional animation.
    • 65 Metascore
    • 70 Boyd van Hoeij
    Though individual scenes feel authentic, the overall structure’s rather loose and there’s not a single narrative throughline. This has several advantages... But it also somewhat diffuses the film’s focus.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Expertly assembled across the board, Censored Voices tries and largely succeeds in providing a corrective to the idea that Israel’s 1967 victory was a quick and clean operation.
    • 66 Metascore
    • 70 Boyd van Hoeij
    Never a full-on character piece or even an exploration of the titular sentiment, Jealousy instead offers moments of quiet tragedy in some seemingly innocent throwaway moments
    • 74 Metascore
    • 70 Boyd van Hoeij
    Talky and cerebral, this theatrical drama juxtaposes space and light and explores ghosts from the past and love in the present.
    • 51 Metascore
    • 70 Boyd van Hoeij
    Though the screenplay, based on Laurence Benaim’s biography, is all build-up and no payoff, there is just enough emotional insight to compensate for the lack of narrative fireworks in the last half-hour.
    • 74 Metascore
    • 70 Boyd van Hoeij
    For all its possible precedents, it’s still relatively uncommon to see a film in which actual sex acts are an integral part of the storytelling. Placed right up front like a kind of litmus test for the audience, the sex scenes here are explicit but also unambiguously non-salacious or intended to arouse.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Though more mainstream-oriented audiences will not be on board with Ahn’s brand of subtlety, for those willing to fully invest themselves, Spa Night offers a carefully considered story about identity or rather identities.
    • 72 Metascore
    • 70 Boyd van Hoeij
    It’s a sobering, collage-like overview of a problem that sadly hasn’t much changed since Michael Moore’s angrier and more provocative (if perhaps less rigorously journalistic) feature came out.
    • 83 Metascore
    • 70 Boyd van Hoeij
    Ingrid’s complex and flawed psyche finally does come into view in the home stretch but it feels like Vogt’s kept his narrative cards too close to his chest for too long. It’s a shame, especially because Petersen (Troubled Water) is terrific in a very tricky role.
    • 74 Metascore
    • 70 Boyd van Hoeij
    Though only an adequate singer, Medhaffer practically explodes with energy when she’s behind the microphone, making for a very charismatic performer.
    • 52 Metascore
    • 70 Boyd van Hoeij
    A mixture of raw, first-hand footage, shot by protesters themselves, and more self-possessed interviewees ensures that the chaos and sometimes lethal risks of protesting come across as strongly as the pressing sociopolitical reasons behind them and the effects the events have had on the participants.
    • 60 Metascore
    • 70 Boyd van Hoeij
    Greenaway’s habitual approach is perfect for this material, constantly externalizing the director’s ideas about Eisenstein’s life and work and the way the two are connected in a way that speaks directly -- often quite literally -- to the audience.
    • 73 Metascore
    • 70 Boyd van Hoeij
    There are no false notes in the ensemble but Francella, with dyed grey eyebrows, and Lanzini, saddled with black sideburns the size of dead mice, are clearly best in show. And the film finally gives audiences the long-awaited confrontation between the two in a strong sequence toward the end.
    • 74 Metascore
    • 70 Boyd van Hoeij
    The screenplay...is very good in its many observational scenes, which here are more straightforward and less laced with irony and dark humor than in Women.
    • 56 Metascore
    • 70 Boyd van Hoeij
    It helps immeasurably that Gainsbourg, as an actress, is as intense as her presence feels evanescent, always seemingly onto the next moment already, leaving everyone in her wake.
    • 70 Metascore
    • 70 Boyd van Hoeij
    Though in several ways related to the previous Heimat films, this beautifully shot black-and-white feature is accessible even for those unfamiliar with Reitz’s previous work.
    • 67 Metascore
    • 70 Boyd van Hoeij
    A quite absorbing but never riveting or revelatory overview of Armstrong’s career and testy personality.
    • 67 Metascore
    • 70 Boyd van Hoeij
    Unlike the films he’s co-written for Jacques Audiard (A Prophet, Rust and Bone…), which often rely on Audiard’s stunning capacity to foreground grand emotional sweeps, this is a much more constructed narrative that could only be described as a writer’s film, though one with several pleasant — if shocking is your idea of pleasant, that is — surprises up its sleeve.
    • 79 Metascore
    • 70 Boyd van Hoeij
    Audley (Ain’t Them Bodies Saints), in practically every frame of the film, has to carry this feather-light narrative on his shoulders and does so with ease.
    • 58 Metascore
    • 70 Boyd van Hoeij
    The film’s combination of psychological drama -- cue the childhood trauma -- with blood-splattered limb-cutting, talking heads in the fridge and talking pets on the couch is a risky one that finally works because Perry and Satrapi find the right tonal mixture for the material.
    • 66 Metascore
    • 70 Boyd van Hoeij
    The directors have brought onboard the entire original cast. This makes their job much easier, as countless performances have perfected the timing and tone of each single line.
    • 74 Metascore
    • 70 Boyd van Hoeij
    Even though one could argue that Bruni Tedeschi was typecast here, she takes the role and runs with it, beautifully grading the different nuances of her headstrong character, whose outward exuberance clearly hides a lot of hurt and a fear of loneliness.
    • 73 Metascore
    • 70 Boyd van Hoeij
    The film’s ambition and dexterity is somewhat of a mixed blessing, with, for example, character motivations given short shrift in the sprint to the finish line.
    • 72 Metascore
    • 70 Boyd van Hoeij
    Bouncy, with snappy dialog to spare and a great young cast headed by breakout star Shameik Moore, this is a crowd-pleaser from start to finish.
    • 65 Metascore
    • 70 Boyd van Hoeij
    If this ambitious film never quite coheres into a single whole, something that an artificial division into several chapters only helps to underline, it does provide a lot to chew on along the way.
    • 72 Metascore
    • 70 Boyd van Hoeij
    [An] intimate and dexterous debut feature.
    • tbd Metascore
    • 70 Boyd van Hoeij
    A pretty straightforward coming-of-age story that’s well-observed and manages to be intimate and explicit without becoming exploitative.
    • 68 Metascore
    • 70 Boyd van Hoeij
    Often shown in dark, flat and agitated closeups, Goic and Duran are both compelling performers.
    • 59 Metascore
    • 70 Boyd van Hoeij
    Cartoon violence and action, gore and humor, all rolled into one schlocky but enjoyable package.
    • 74 Metascore
    • 70 Boyd van Hoeij
    Campillo thankfully refrains from offering on-the-nose explications for behavior and decisions, instead letting audiences infer psychology and motivation from on-screen behavior, with the entirely naturalistic performances of Raboudin and Emelyanov beautifully tuned in to each other and the material.
    • 67 Metascore
    • 70 Boyd van Hoeij
    The third feature of Romanian auteur Corneliu Porumboiu that again takes a clichéd-seeming premise and carefully proceeds to turn it on its head through logic, absurd humor and the consumption of vast quantities of cigarettes.
    • 57 Metascore
    • 70 Boyd van Hoeij
    Crucially, though all the characters get a little eccentric at times and some of their antics seem to have been imported from boulevard comedies rather than inspired by real life, in the overall scheme of things, the ensemble remains grounded in a recognizable reality.
    • 65 Metascore
    • 70 Boyd van Hoeij
    Staying Vertical slowly morphs into something closer to a dark — and darkly funny — myth or fairytale, though this transformation isn’t entirely smooth.
    • 58 Metascore
    • 70 Boyd van Hoeij
    Les Coquillettes never comes off as an elaborate in-joke; instead it feels like a sincere attempt to convey what the very particular rush of a film festival, rarely seen onscreen, can feel like from inside the bubble.
    • 62 Metascore
    • 70 Boyd van Hoeij
    There’s a decidedly campy side to the proceedings that Koutras effectively juxtaposes with the hard-edged realities of contemporary Greece, a beautiful but hostile nation wrecked by the ongoing economic crisis and a place in which xenophobia, racism and homophobia seem to fester freely.
    • 50 Metascore
    • 70 Boyd van Hoeij
    Lolo has a solid laughs-per-minute rate and enough twists to overcome the occasional screenplay hiccup.
    • 70 Metascore
    • 70 Boyd van Hoeij
    Despite a slightly grating tendency to resist any kind of subtlety, the honest and convincingly played central romance does finally linger.
    • 67 Metascore
    • 70 Boyd van Hoeij
    Hong, who again wrote as well as directed, hasn’t suddenly become someone interested in things such as densely plotted narratives and surprise twists, with the few events that happen only excuses to dig a little deeper into the behavior and feelings of his protagonists.
    • 66 Metascore
    • 70 Boyd van Hoeij
    Like the director’s previous feature, Jo for Jonathan, this is a minutely observed story of great modesty that thrives on transformations so tiny, the film deserves to be seen on the big screen.
    • 76 Metascore
    • 70 Boyd van Hoeij
    Mikkelsen impresses here as a warm-hearted man who finds himself caught up in a situation way beyond his control.
    • tbd Metascore
    • 60 Boyd van Hoeij
    The film was shot chronologically and this is clear in the increasing fluidity of Gras’ camerawork, which is less and less searching the closer they get to the city.
    • 63 Metascore
    • 60 Boyd van Hoeij
    A less successful aspect of the film is Cognet’s attempt to tie the concentration camps as contemporary spaces into the narrative, with shots of the now practically empty landscapes -- some tourists here and there notwithstanding -- interspersed throughout.
    • 76 Metascore
    • 60 Boyd van Hoeij
    While Afineevsky generally manages to pack in a lot of detail, analysis, nuance and humanism, this is largely absent in the last chapter, which feels like it was rushed together at the last minute and didn’t receive the same amount of time, care and thought as the film’s previous chapters
    • 71 Metascore
    • 60 Boyd van Hoeij
    Sophisticated cutting brings out the story’s complex emotional undercurrents, though “Breakdown’s” less convincingly scripted second half sputters more often than it shines.
    • 64 Metascore
    • 60 Boyd van Hoeij
    The film’s first hour and last reels are now a not completely organic fit, taking things from an intimate and personal level to a global scale while skipping over an awful lot of things in between.
    • tbd Metascore
    • 60 Boyd van Hoeij
    Finally less a two-stories-for-the-price-of-one situation than essentially two films of about an hour each, this is nonetheless a visually impressive Hollywood calling card for Jimenez, who almost manages to overcome the material’s structural weaknesses with impressive directorial verve.
    • 53 Metascore
    • 60 Boyd van Hoeij
    The main point of the film remains its style, which is so constantly and loudly reinforced that it’s often hard to concentrate on the story.
    • 65 Metascore
    • 60 Boyd van Hoeij
    The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.
    • 72 Metascore
    • 60 Boyd van Hoeij
    Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.
    • 67 Metascore
    • 60 Boyd van Hoeij
    Though complementary, the pic’s images and voiceover never quite fuse into a single whole.
    • tbd Metascore
    • 60 Boyd van Hoeij
    There are some fascinating cracks in his constantly upbeat personality that Rice manages to smuggle in. A little more of this material, or at least a little more carefully edited and juxtaposed with the rest, might have made the film less of a valentine for Oakley fans and more of a fascinating behind-the-scenes look at a relatively new phenomenon in general and this "personality" in particular.
    • tbd Metascore
    • 60 Boyd van Hoeij
    The actors impressively give it their all.
    • 61 Metascore
    • 60 Boyd van Hoeij
    Quite powerful despite relying on familiar storytelling tropes.
    • 60 Metascore
    • 60 Boyd van Hoeij
    Minutely observed and framed with great precision, this finally has a few too many characters and twists to become a fully satisfying drama.
    • 62 Metascore
    • 60 Boyd van Hoeij
    Troy Espiritu’s plot-driven screenplay and Mendoza’s preference for a gritty, documentary-like style mean that the final result is neither as deep nor as resonant as it could have been.
    • 58 Metascore
    • 60 Boyd van Hoeij
    Audience’s tolerance for this kind of heavy-handed, occasionally very mannerist symbolism may vary, though Messina does ensure that the religious parallels never completely eclipse the contemporary characters.
    • 56 Metascore
    • 60 Boyd van Hoeij
    There are too many twists, insignificant literary references and drawn-out scenes of sex and violence to sustain either the pic’s running time or its ideas, with Sono’s message obscured in the final reels by an ambiguous treatment of his leading ladies.
    • 44 Metascore
    • 60 Boyd van Hoeij
    It feels like a sermon delivered by an extremely cine-literate preacher.
    • 66 Metascore
    • 60 Boyd van Hoeij
    Because Sono tries to set the manga’s storyline, with its stylized violence, in the very real, post-earthquake/tsunami disaster area, Himizu struggles to find a coherent tone.
    • 59 Metascore
    • 60 Boyd van Hoeij
    After taking a couple of left turns following its thriller-like opening, Salvo unfortunately returns to a more conventional register in the closing reels, though the atmospheric picture does continuously fascinate on a visceral level.
    • tbd Metascore
    • 60 Boyd van Hoeij
    A snazzy, fast-paced pic that’s nonetheless somewhat enslaved by the get-rich-quick and crime-doesn’t-pay cliches that finally trip up the lowlife protags.
    • 66 Metascore
    • 60 Boyd van Hoeij
    More convincing in its outrage and inspiring in its show of what the people’s will can do as long as the masses protest and demand to be heard, than as a rigorous historical analysis.
    • 83 Metascore
    • 60 Boyd van Hoeij
    Impressive in parts, but wildly uneven as a whole.
    • 56 Metascore
    • 60 Boyd van Hoeij
    Taken together, the shorts offer some scraps on Berger the man and the artist and thinker without really supplying a full overview, while also exploring some of his main preoccupations in ways that would benefit from at least some prior knowledge of his work.
    • 75 Metascore
    • 60 Boyd van Hoeij
    Quillevere, co-scribe Mariette Desert and editor Thomas Marchand struggle to keep audiences fully involved in the story... Thankfully, the performances are all first-rate.
    • 56 Metascore
    • 60 Boyd van Hoeij
    A film with some real stunning visual highlights but a narrative throughline that feels patchy and unbalanced.
    • 78 Metascore
    • 60 Boyd van Hoeij
    Directed by French director Anne Fontaine (Two Mothers/Adore, Coco Before Channel), this is another gorgeously appointed but also slightly overly formal film, with a muted emotional payoff that, while appropriate for the story’s convent setting, doesn’t exactly make for must-see cinema.
    • 66 Metascore
    • 60 Boyd van Hoeij
    [A] handsomely produced if occasionally rather old-fashioned feeling period drama, which plays like a soap opera in which the characters just happen to have better manners and finery.
    • 58 Metascore
    • 60 Boyd van Hoeij
    A high-carat cast...tears into the juicy material with relish for the most part, but by trying to keep the prolonged sit-down affair from becoming excessively stagey, Moverman adds too many distracting flashbacks to maintain the original’s hard-hitting and well-aimed gut punch.
    • 63 Metascore
    • 60 Boyd van Hoeij
    Though a lot of it is well written and directed and, quite often, funny or poignant, the individual scenes rarely become part of a larger whole.
    • 56 Metascore
    • 60 Boyd van Hoeij
    Thankfully, the screenplay doesn’t portray the story in simple terms of good or evil, but that doesn’t mean that there’s quite enough nuance or insight to constantly elevate the material above the level of a well-made-but-TV-ready biopic.
    • 59 Metascore
    • 60 Boyd van Hoeij
    The film’s beauty lies in its carefully observed details and the larger story’s got nowhere particularly surprising to go.
    • 62 Metascore
    • 60 Boyd van Hoeij
    The rock-solid bond between the film’s two drifting 17-year-olds... is the film’s undeniable highlight but the true depth of their friendship crystallizes quite late and is too often obscured by a subplot involving minor characters caught up in a cross-border drug running operation.
    • 61 Metascore
    • 60 Boyd van Hoeij
    Some individual scenes are certainly striking and the couple’s complex relationship and chemistry are believable but the overall narrative retains an erratic and somewhat jerky quality as the various elements don’t always logically build on what has come before.
    • 77 Metascore
    • 60 Boyd van Hoeij
    This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.
    • 78 Metascore
    • 60 Boyd van Hoeij
    Since from her other features it is clear she's an uncompromising director, it should perhaps come as no surprise that this film is as unapologetically personal and self-absorbed as it is, making no attempt to draw in viewers perhaps unfamiliar with the filmmaker.
    • 57 Metascore
    • 60 Boyd van Hoeij
    Though the film’s European scenes carry too little dramatic weight and might be confusing for those unfamiliar with the novel, the Morocco-set opening 40 minutes are beautifully and quietly observed.
    • 57 Metascore
    • 60 Boyd van Hoeij
    More a film about ideas and theories rather than a story that’s more directly involving emotionally.
    • tbd Metascore
    • 60 Boyd van Hoeij
    The conceit is pure genre fluff, but the underlying economics make less sense upon closer inspection... That said, Maiga projects so much intelligence and integrity it's hard not to warm to her character and she has believable chemistry of the mismatched kind with Boublil, who's up to his usual but quite charming shtick.
    • tbd Metascore
    • 50 Boyd van Hoeij
    Barbosa doesn’t seem very interested in questioning Buchmann’s intentions — the idea of cultural appropriation never comes up, for starters — with the young man depicted as sincere if clearly naive.
    • 43 Metascore
    • 50 Boyd van Hoeij
    The Players is an odd beast that, like all omnibus films, is only as strong as its weakest link.
    • 43 Metascore
    • 50 Boyd van Hoeij
    There is not a lot of risk-taking involved in the visual storytelling or in trying to find a cinematic equivalent of the novel’s style, making In Dubious Battle a rather classical period piece for the most part, though one with at least one very solid performance at its center.
    • 51 Metascore
    • 50 Boyd van Hoeij
    Nicloux is unable to instill the material with any tension.
    • 44 Metascore
    • 50 Boyd van Hoeij
    Recognizable human behavior is not this film’s forte -- which wouldn’t be a problem if something else would take its place but Punch never finds the right tone for the heterogeneous material, with sweetly melodramatic scenes alternating with high drama, some light action and farce.
    • 59 Metascore
    • 50 Boyd van Hoeij
    It’s rather odd that Ellis, who co-wrote the screenplay with former Kubrick assistant Anthony Frewin, can’t come up with anything more action-packed or tension-filled in the first hour than a broken teacup. Valkyrie this is not.
    • 49 Metascore
    • 50 Boyd van Hoeij
    Though it contains some nice twists, the story is largely predictable and old-fashioned in ways both good (the characters’ unlikely come-what-may camaraderie) and bad (misogyny and machismo abound).
    • 56 Metascore
    • 50 Boyd van Hoeij
    Rahim has a great face but isn’t given enough opportunity to make it clear to audiences what his character is going through beyond the most basic emotions.
    • 35 Metascore
    • 50 Boyd van Hoeij
    Ambitiously mounted but wildly uneven.
    • 36 Metascore
    • 50 Boyd van Hoeij
    The main problem of Mr. Morgan’s Last Love is a structural one, as it is really two films in one.
    • 42 Metascore
    • 50 Boyd van Hoeij
    The film remains stranded in a sort of genre no man’s land.
    • 54 Metascore
    • 50 Boyd van Hoeij
    The film frequently privileges art direction over emotion, and a constant sense of wonder based on visuals alone proves impossible to sustain over the lengthy 130-minute runtime.
    • 74 Metascore
    • 50 Boyd van Hoeij
    Instead of complex personalities and dilemmas, we mostly get clichés.
    • tbd Metascore
    • 50 Boyd van Hoeij
    Without a strong point of view, it becomes hard to care about either the people or the issues with which they are grappling.
    • 41 Metascore
    • 50 Boyd van Hoeij
    With a slick, outsider’s perspective on the City of Angels and some interesting possibilities that are set up early on, this Message gets off to a great start. But the screenplay becomes a muddle and then a mess in its second half.
    • 47 Metascore
    • 50 Boyd van Hoeij
    The film’s main problem is that it can’t decide what it wants to be and ends up not having enough time to develop anything in any depth.
    • 58 Metascore
    • 50 Boyd van Hoeij
    Tellingly, all of the film’s emotional highlights come from scenes involving the animal rather than the human protagonists and there are only very few scenes in which the two interact in a manner that feels entirely synergetic.
    • 62 Metascore
    • 50 Boyd van Hoeij
    Truth is indeed sometimes stranger than fiction but Ripstein struggles here to turn his odd collection of two-dimensional characters into real people. What does impress is the gorgeously crisp black-and-white cinematography, which deserves to be seen on the big screen.
    • 69 Metascore
    • 50 Boyd van Hoeij
    Though the script... is underdeveloped and pic is assembled in workmanlike fashion, it does feature some nicely modulated performances.
    • 57 Metascore
    • 50 Boyd van Hoeij
    The frequent voice-overs, in which the boys read what they wrote (heard over shots of them writing), add distance rather than insight because it is not the action of writing that's revealing but the events and thought processes that led them to write what they did.
    • 56 Metascore
    • 50 Boyd van Hoeij
    Absent any real sense of who these three women are as individuals, most of their behavior is reduced to what feels like tics that are meant to illuminate character in a rather crude way.
    • 72 Metascore
    • 50 Boyd van Hoeij
    Visually, the results are quite often striking, and they are also sharply cut together. But there’s a nagging suspicion throughout that there’s been more preparation for especially the set-pieces than would normally be the case on a documentary.
    • 55 Metascore
    • 50 Boyd van Hoeij
    Though it is convincingly played and sensually shot, the film has about as much narrative as the characters have parts of their bodies covered on the beach.
    • 61 Metascore
    • 50 Boyd van Hoeij
    So full of explanatory flashbacks and animated sequences visualizing the characters’ invented yarns that their real dramas are indeed almost obscured.
    • 56 Metascore
    • 50 Boyd van Hoeij
    The story [lacks] a clear narrative or emotional throughline to connect all of the film’s setpieces.
    • 39 Metascore
    • 50 Boyd van Hoeij
    There’s a sense that the goings-on are more quirky than comical.
    • 52 Metascore
    • 50 Boyd van Hoeij
    Handsomely packaged, the film unfortunately is also too well-behaved and lacking in psychological depth to really set itself apart from countless other WWII dramas.
    • 52 Metascore
    • 50 Boyd van Hoeij
    The screenplay... seems to generally lack a throughline or focus, coasting from party scenes full of drugs and alcohol to work-related drama but rarely managing to get inside the head of the self-destructive character the designer had become by the 1970s.
    • 39 Metascore
    • 50 Boyd van Hoeij
    There’s certainly an overall sense of a formerly rich family’s fortunes dwindling, both economically and emotionally, but the three sections don’t add up to something more than the sum of their parts.
    • 66 Metascore
    • 50 Boyd van Hoeij
    A serviceable piece of B-movie entertainment without an ounce of originality
    • tbd Metascore
    • 40 Boyd van Hoeij
    The screenplay, written by French arthouse writer-director Antoine Barraud (Les gouffres) with an assist from U.S. scribe Edwards, too often seems to be under the mistaken impression that making a movie for kids means everything needs to be overly spelled out, especially by using as many short-hand clichés as possible.
    • 61 Metascore
    • 40 Boyd van Hoeij
    Though blessed with a spectacular true story and character to work from, director and co-screenwriter Lars Kraume...fails to breathe much life into the stuffy, overly complex enumeration of the historical facts.
    • 49 Metascore
    • 40 Boyd van Hoeij
    Cub
    This unquestionably good-looking film, shot by world-class cinematographer Nicolas Karakatsanis (The Drop, Bullhead), plays like a Low Countries-variation on the classy Spanish-language work of Guillermo Del Toro, at least in terms of style if not substance, with what little narrative there is more of a clothesline for small-scale set pieces rather than a conduit for character insight.
    • 36 Metascore
    • 40 Boyd van Hoeij
    The main problem is that the directors often struggle to assign meaning to their images that helps advance either the narrative or illuminate the emotional state of their main character.
    • 39 Metascore
    • 40 Boyd van Hoeij
    This is the kind of indie doodle of a movie in which several potentially interesting ideas co-exist but never quite come together and where supporters will call the narrative "freewheeling" while naysayers will insist on "rambling."
    • 67 Metascore
    • 40 Boyd van Hoeij
    McCarthy more often seems to apply a generic style to his substance, rather than actually use a stylistic choice to help suggest or demonstrate something about his story and characters.
    • tbd Metascore
    • 40 Boyd van Hoeij
    Sagnier and especially Baye try to locate the heart in their cartoonish maternal characters, and newcomer Lasseron is at least a warm and spunky presence in a role that's severely underwritten, though all of them are frequently upstaged by all the bells and whistles newcomer Neel feels he needs to keep throwing at the screen in order to mask the fact there's not much of story in the first place.
    • 53 Metascore
    • 30 Boyd van Hoeij
    Originality or insight aren’t very high on the priority list of this drama.
    • 45 Metascore
    • 30 Boyd van Hoeij
    It is unlikely that a lot of viewers come to see a Step Up film for convincing dialogue or psychological insight into a group of young things trying to make it big in a ruthless industry. But there’s barely any humor that doesn’t feel third-rate and most of the plot threads are so thin that All In occasionally feels like a satire of a dance film.
    • 22 Metascore
    • 30 Boyd van Hoeij
    The comedy here feels secondhand and becomes grating when no cliche is left unused, whether about nationality, race, gays or the female gender.
    • 34 Metascore
    • 30 Boyd van Hoeij
    Tonally surprisingly coherent, Franco’s apostles seem to have directed, as Pauline Kael would’ve said, on their knees.
    • 32 Metascore
    • 30 Boyd van Hoeij
    The film contains numerous stylistic flourishes... But none of these elements advance the story, prompt a deeper emotional response or suggest something new about the characters, reducing them to meaningless window-dressing for what little story their is.
    • 25 Metascore
    • 10 Boyd van Hoeij
    With jokes that fall flat so often, the film’s cardiograph flatlines before the first five minutes are over.
    • tbd Metascore
    • 10 Boyd van Hoeij
    There is a clear sense here that Coixet is completely out of her depth in this genre exercise, which is all excessive surfaces and no tension, however hard the music and sound effects try to tell audiences otherwise.

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