Mark Jenkins

A man (Jean Dujardin) becomes obsessed with a deerskin jacket — and pretending to be a film director — in a dark comedy that is "both outlandish and slight."

Writer/director Kirill Sokolov's stylish and exuberant black comedy involves a corrupt cop, his would-be killer and a sardonic take on contemporary life in Russia.

Director Ken Loach and writer Paul Laverty deliver a "lacerating social drama" about a delivery driver (Kris Hitchen) whose demanding job comes with penalties that wipe out his pay.

Writer-director Corneliu Porumboiu's crime flick is "brighter and literally more colorful" than the slow-burn, gray-palette fare you might be expecting.

A hotel clerk (Tye Sheridan) hides a secret during a murder investigation in a film that explores the affinity between cinema and voyeurism flatly and without nuance.

Peg (Zoey Deutch) goes into the debt-collection business in a comedy that focuses so narrowly on its self-absorbed main character that the world around her fades to obscurity.

Stephanie (Blake Lively) trains to become a super-assassin to avenge the murder of her parents in this well-paced, well-directed, but poorly scripted Bond knockoff.

In this loose, grisly adaptation of an H.P. Lovecraft story, a family undergoes a series of mutations while Nicolas Cage gets increasingly unhinged; the result is "a gory mess."

Writer/director Terrence Malick's latest film, based on the life of an Austrian conscientious objector in WWII, "spends much of its three hours musing, or simply being beautiful."

Director Malina Matsoukas' debut feature, about a black couple on the run, is "more interested in myth-making than storytelling," with striking visuals and an increasingly implausible narrative.

In "the most conventional movie of [director Todd] Haynes' career," Mark Ruffalo plays a lawyer taking on DuPont. The film distills years of litigation into an urgent story.

Both didactic and engrossing, director Scott Z. Burns' film about the investigation into post-9/11 CIA interrogation techniques stars Adam Driver as an idealistic Senate staffer.

Cynthia Erivo is quite good, and the story of Harriet Tubman is a tale worth telling, but as presented here it's earnest, conventional and "fundamentally inert."

This long-delayed film about Edison, Westinghouse and Tesla is "a sumptuous historical pageant that's stronger on sumptuousness than history."

Ang Lee directs Smith (and a digitally de-aged Smith) in this "bland, sluggish and sentimental" thriller.

This "stylish but overloaded satire is less sober narrative than drunken tone poem — a buzzing, throbbing attempt to simulate" what it was like inside the mogul-turned-prime-minister's circle.

In this fierce, elliptical, episodic drama, a team of children somewhere in the Latin American jungle are tasked with guarding an American hostage.

The film, based on Eileen Atkins' play about the correspondence between Virginia Woolf and Virginia Sackville-West, is a standard British period drama that tries, and fails, to be something more.

Bart Freundlich's gender-flipped remake of a twisty Danish film is glossy, slick and strangely sedate.

In writer-director Sameh Zoabi's gentle satire, a Palestinian screenwriter and a Israeli checkpoint guard collaborate on a popular, low-rent soap opera.