Gabe Toro

Young Bodies Heal Quickly is a haunting film, mostly because the title remains forever in doubt.

Director Johanna Hamilton should be credited for getting these faces in front of the camera, to humanize political rebellion of an early era not as some sepia-toned memory, but a story of very human individuals.

The fashion mogul feels as if she’s learning bit by bit how to tell a story cinematically, how to complete transitions and flash back and forward, how to set a mood and tempo. It’s basically the rough cut of a student film which, to its credit, is also often more interesting than most student films outright.

This is Stewart's show, and it's a dynamite role for anyone, never mind the screen's beloved Professor Xavier. The actor slips away and Tobi ultimately dominates the screen to the point where you lose track of the film proper and become Tobi's guest.

It's the sort of film where music montages are used like wallpaper to take narrative shortcuts and minimize messy conflict.

Much of the credit must go towards the makeup crew. It's a Fangoria funhouse up in here: Cabin Fever: Patient Zero has some of the most disturbing, disgusting gore effects of all-time. This is a movie made by people who have studied some of the worst injuries known to man.

It can't be overstated what kind of a marvel these Turtles are onscreen, however. As crude and unpleasant their design might be, they feel like living, breathing things, not special effects.

It's mythmaking for dummies, a Hercules with no poetry, only incompetent brute strength.

The Kill Team doesn't saint Winfield at all, instead, smartly casting responsible, impartial questions as to what his options could have been.

It's basically the perfect summer movie, because it's designed to be.

You wish Evelyn Purcell's action thriller just had a bit more character, and not a budget-cutting location that looked great in front of a camera.

This one veers further from actual horror into an action picture. “The Purge” tries to unsettle. The Purge: Anarchy wants you to cheer.

It's all fist-pumping anti-thought, consisting of baseless revisionist history and idle contrarianism.

About Alex is about too much and too little, a sandbox for its considerable cast, but ultimately just following the reunion rulebook.

It feels like this is a short film idea stretched to feature length, and the padding doesn't work.

This is a laughably bad movie, but an amazing drinking game waiting to happen.

It's ludicrous genre fun even if you didn't take into account the properly-bewitching Ms. Bang.

An end-film tease for a laughably unnecessary part two feels emblematic of the entire film: McKee and Sivertson aren't interested in laying any groundwork regarding cogent themes or diverse characterization, because there are skulls to be split and blood to be drank.

Being played by Gregg himself makes the transition more organic than it was for Rockwell in "Choke," but it still rings false.

What's distinct about Mr. Jones is that it lengthily utilizes three separate storytelling techniques... Given the sloppiness of Karl Mueller's directorial debut, it feels less like innovation and more like an attempt to cover up shortcomings.

The film is borderline installation-worthy, and would probably work just as well if the scenes were drastically re-arranged.

Buzzard is a quiet, introspective film, but it trumps all generic blockbusters in that it very much is a roller coaster ride, one that thrills, upsets, and makes one queasy, all in surprising ways.

This is a unique, strange, unforgettable film, a half-remembered dream that will trouble and beguile the subconscious long after you’ve moved on.

With its rock doc trappings, it’s impossible to ignore that Mistaken For Strangers delivers on that front, with thrilling and candid on-stage footage that allows the band’s music to come alive: if you weren’t a fan before, you will be after the film.

Devos keeps her character’s unreliability and self-disappointment relatable, and falling backwards into a new lover is something that Devos captures beautifully with her uncertain facial expressions and hungry eyes.

When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.

Ultimately, the picture becomes an old-fashioned Bible Belt actioner, a shift towards genre that works on its own, but is tonally a peculiar place to take the events of the film following a string of several shocking and not-so-shocking revelations.

Black Out ultimately limps to feature length, burying its intriguing leading man underneath endless mishaps and shenanigans.