"Gone Girl" lite.

If anything, 'The Love Witch' shows Anna Biller’s keen attention to detail for the art of filmmaking, not simply the art of homage.

Communication is the key.

Gibson's depiction of this hell-on-Earth is more persuasive sermonizing than any petty, politicized paranoia drama.

'Loving,' in theaters today, is devoid of all types of fantastical conventions and cliches, standing as nearly a polar opposite and one of the year's most affecting love stories.

If this review can be summed up in a single image, look no further that the above picture. Grenier and Trimbur's faces say it all.

If you were not familiar with Park Chan-wook's impressive filmography before 'The Handmaiden', then you are in for a mind-blowing experience.

'Little Sister' uses eccentricity to gracefully remind us that no one understands you quite like family.

Tarantino better watch his back, there's a new sheriff in town.

Operatic in its scope, yet gentle in its expression, 'Moonlight' is director Barry Jenkins’ butterfly.

The decision to shoot in black & white elevates this quaint indie drama into something much more elegant and classic.

For classic movie aficionados and casual moviegoers alike, there is much to be savored from the Criterion’s latest entry, 'McCabe & Mrs. Miller.'

Who can blame the officers for assuming the worst in others when they are consistently being trained by those in positions of authority that "violence is your weapon."

Its anti-humor plays like a live action adaptation of a Nickelodeon cartoon written by John Waters, directed by Jared Hess.

If unoriginal, at least it gets its tone right.