Alan Scherstuhl

Fuglsig is adept at showing choppers and peaks, caves and campfires, at suggesting the great silence at the roof of the world. He’s also a sure hand with the geography of battle, with ensuring we understand why the bullets fly in the direction they’re flying — and both where they come from and where they hit. That said, the firefights do wear on.

LBJ slips from an examination of a sometimes admirable leader into a hagiographic daydream, a fantasy of a father figure to save us all. That’s a matter of Reiner’s politics, of course, but even more so a matter of his instincts as a popular filmmaker: He’s offering us an American presidency to escape to.

Milos's film pulses with f#*!-it-all abandon and chintzy eastern-Euro club beats.

The good news: Here's a lavish, serious science-fiction picture, one that on occasion transcends big-budget hit-making convention to glance against grandeur...Which brings us to Tom Cruise, the not-necessarily-good news. However engaging its end-times mysteries, Oblivion is still a Tom Cruise movie.

For much of its running time, Camp X-Ray stands as the fullest on-screen imaginative treatment of two of the defining developments of the last 15 years of American life: the deployment of women in our volunteer army, and the indefinite detention of men we think, but can't quite prove, deserve it.

The biggest surprise: Older, un-messianic, and mostly eschewing cute stunts, Moore somehow makes his one-man show seem almost humble. It plays less like "I'm still here!" attention-seeking than it does a concerned citizen's act of hope.

You get enough of a sense of this place and these men — and that widow! — that it's a disappointment when, in the end, we just have to watch it all blow to hell.

The film is more an on-the-fly glimpse of the scene than a deep-dive exploration, but that doesn't make it any less electric.

The persuasive power of individual moments suggests that director William Eubank has a bright future — and could push himself harder when writing his scripts.