The Double, Jesse Eisenberg
Magnolia Pictures "The Double"
"The Double"

While sometimes too obviously clever in its use of symbolic devices, "The Double" sticks to its eccentric ways

"El Mudo"

As a metaphor for responsible citizens silenced by indifferent majority, his vocal restrictions are a touch on-the-nose, but "The Mute" efficiently roots Constantino's experience in loud, talky urban surroundings to reflect his entrapment.

"An Episode in the Life of an Iron Picker"

Danis Tanovic's "An Episode in the Life of an Iron Picker" has plenty to say, but as tragic observations go it's curiously dry.

"The F Word"

Yet despite formidable performances from Daniel Radcliffe and Zoe Kazan as the duo in question, "The F Word" never comes close to realizing the expletive-fueled comedy implied by its title.

"The Fifth Estate"

With so many factors in play and Assange's fate still developing, the idea of an Assange biopic might seem premature. But that's the least problematic issue plaguing Bill Condon's "The Fifth Estate," an uneven, intermittently thoughtful but largely preachy overview of WikiLeaks' rising influence that has less of an issue determining Assange's character than it does with telling a compelling story. 


By conveying Gloria's alienation so effectively, the movie taps into a greater generational anxiety that imbues the character with metaphorical value.


Cuarón, always one eager to tinker with film form, here has taken on the role of an Imagineer-like visionary, crafting a cinematic rollercoaster that's both visceral and dreamlike in its capacity pull viewers into a queasy encounter with the realistic perils of space.

"Green Inferno"

Unfortunately, the unbridled shock value isn't matched by a similar investment in other ingredients that might have made this low rent B-movie worthwhile. 


Predominantly a failure of tone, "Horns" has plenty of admirable traits and yet dooms itself from the outset.

"The Invisible Woman"

Though suffering from dry patches and a fairly mannered approach, "The Invisible Woman" eventually makes its way to a powerful final third documenting an ultimately tragic romance in deeply felt terms.


If "Joe" marks a new beginning for some of its characters, the same description applies to its director and star.