In his glorious follow-up to High-Rise, Ben Wheatley stays in the '70s but drops the social satire in favor of pure action/comedy entertainment.
Your guide to Asheville's vibrant and diverse movie offerings.
Your guide to Asheville's vibrant and diverse movie offerings.
In his glorious follow-up to High-Rise, Ben Wheatley stays in the '70s but drops the social satire in favor of pure action/comedy entertainment.
François Ozon’s riff on Ernst Lubitsch’s Broken Lullaby is the kind of emotionally-rich and visually confident work rarely seen in modern movies.
A strong cast and epic scope can't overcome poor storytelling in Terry George's take on the Armenian genocide.
The Polish horror/comedy/musical fails to master nor marry its discordant parts.
A spooky Katherine Heigl haunts Rosario Dawson in this surprisingly entertaining thriller.
James Gray's gorgeous dramatization of Amazonian obsession might be the year's best film to date.
Gael García Bernal is a riot as an unfaithful telenovela actor who tracks his writer wife to Iowa.
Mckenna Grace delivers one of the great child performances as a seven-year-old math prodigy whose uncle/guardian is committed to giving her a normal life.
The half-century friendship between Paul Cézanne and Emile Zola comes alive under the direction of Danièle Thompson.
Zach Braff skillfully directs Michael Caine, Morgan Freeman and Alan Arkin in this pleasant comedy/caper remake.
The all-animated take on the beloved little blue critters is a step up from the live-action hybrids, but that's still not saying much.
Bruce Steele and I are wild about Danny Boyle's sequel to his breakout hit.
Martin Zandvliet’s worthy Oscar nominee takes the inherent breath-holding suspense of defusing explosives and elevates it with exceptional writing, acting and direction.
Makoto Shinkai's global box office sensation is a feast for the eyes, occasionally to a fault.
The acting and writing in this indie horror may not be notable, but the atmosphere, creature effects and rampant terror are.
The fact-based tale of the Warsaw Zoo owners sheltering Jews during WWII loses its distinctive edge once its wildlife population plummets.
The seemingly one-note joke of Alec Baldwin voicing a business-savvy newborn works surprisingly well thanks to filmmaking that specializes in even weirder ideas.
Less than a year after the pleasant Our Little Sister, Hirokazu Kore-eda returns with this thorough, moving portrait of a man adrift.
