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As a visual and aural piece of cinema, Backcountry is quite effective, but too much time is dedicated to superfluous scenes that only cause the story to drag rather than be as engaging as the filmmaking itself.
Noah Baumbach's While We're Young explores a cross-section of cultures as the old and young come together and it's a movie I simply could not connect with and only got progressively annoyed.
Alex Gibney's Going Clear: Scientology and the Prison of Belief is a frank look at Scientology, told through the words of those that once belonged to the Church. Met with aggression from the Church itself the biggest questions left all begin with "Why?"
Patrick Brice's The Overnight is a very funny sex comedy about the modern, liberal couple, with a terrific quartet of performers who spend an unforgettable night together.
Robert Duvall may mean well here in his message, but Wild Horses just lays there, completely inert, in this narratively misguided crime drama.
In a world where science fiction is dominated by artificial intelligence stories, Alex Garland's Ex Machina strips everything down to a quite intelligent and very entertaining sci-fi pulp drama with a trio of tremendous performances.
Adult Beginners, starring Nick Kroll and Rose Byrne, could be considered just another indie dramedy, but it is executed very well and is definitely funny.
Hal Hartley's Ned Rifle, the end to the trilogy started with 1997's Henry Fool, brings together an excellent ensemble who can deliver deadpan dialogue perfectly, but it ultimately left me a bit cold.
A bunch of hippies and a hard-edged CIA agent faking the moon landing could've made a great comedy, but instead we get Moonwalkers, an immensely boring one.
Love & Mercy could've been another by the numbers music biopic, but instead uses a unique dual timeline structure to be something much more entertaining and emotionally engaging to show the life of Beach Boys frontman Brian Wilson.