Christy Lemire

Indeed, the director of “99 Homes” and “The White Tiger” has proven a driving interest in telling stories that shine a light on injustice and cruelty. But here, the result suggests he’s dipping his toe into these enormous subjects rather than getting his arms around them in a smart and satisfying way.

Regardless of where you fall on the issue, “Eternal You” is undeniably beautiful, with artful cinematography from Tom Bergmann and Konrad Waldmann that creates an air of mystery from the very beginning.

Rather than indicting the church itself, Betts seems more interested in exploring what drives these girls on the brink of adulthood to pursue such a rigorous spiritual quest—and what prompts some of them to abandon it.

Cinematographer Daniel Patterson makes us feel the steam of humid Texas nights, but he also has an eye for the unexpected, romantic moments in Turq’s life: the moody pink-and-blue lighting during an after-hours slow dance, the glow of birthday candles in a darkened kitchen or the unvarnished warmth of mother and daughter sitting side-by-side outside the decaying restaurant.

The Iron Claw inadvertently shares a lot in common with the professional wrestling world it depicts. A lot of energy and passion clearly went into it, and there’s a drive to entertain and thrill, but it ultimately ends up feeling empty and superficial.

Whether you still know every word to “Wham Rap!” four decades later or only remember the British pop duo as “George Michael and that other guy,” you’ll find everything you want in the Netflix documentary Wham!

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

The razzle-dazzle that's Jon M. Chu's bread and butter is on glorious display in "Wicked," the big-screen version of the beloved Broadway musical.

Sheridan drops us in and we know this place immediately; his storytelling is meaty but efficient, and his pacing moves along at a steadily engrossing clip before ultimately exploding in a startling blast of violence.

If you love movies about process, about people who are good at their jobs, then you’ll find yourself enthralled by the film’s many moments inside offices, conference rooms, and production labs.

What Happens Later doesn't reach the heights of Ryan’s beloved romantic comedies, but its sweet comforts might be just the ticket if you’re looking for laughter-through-tears on the couch on a Sunday afternoon.

Puss in Boots: The Last Wish is as spry and light on its feet as its titular feline.

The resulting feeling of outrage will spur viewers into action.

Here, Pfeiffer’s Kyra is our conduit to a world of anxiety and destitution within a seemingly exciting, glamorous city. And she’s absolutely heartbreaking with just the slightest register of sadness in a gesture or facial expression.

In what may be his final film, nonagenarian auteur Clint Eastwood has crafted a solid, old-fashioned courtroom drama with “Juror #2.” Always known for his efficiency as a filmmaker, Eastwood brings that same brisk energy to this suspenseful piece of storytelling.

Director Lara Stolman explores this paradox — that these young men must submerge themselves in the water to emerge as the best possible versions of themselves — with her modest documentary feature debut.

Korem doesn’t uncover too much that’s new, but more than three decades later, he gives key players the opportunity to share their memories and perspectives. The passage of time provides frank reassessments—some tragic, some humorous.

I'm No Longer Here (“Ya no estoy aqui”) is one of those Netflix movies you’ll wish you’d watched on the big screen. The film from Mexico City-born writer/director Fernando Frias de le Parra is so gorgeously shot and offers such a rich sense of place that it’s always visually compelling, even when the narrative tends to sag a bit.

What’s frustrating is that I totally agree with everything Bong is saying, I just wish he were saying it with a touch more finesse. Maybe they can do some fine-tuning in the lab for next time.

You’re likely to laugh and learn in equal measure–and so will your little ones.

With a combination of power and grace, Julianne Moore elevates Still Alice above its made-for-cable-television trappings, and delivers one of the more memorable performances of her career.

Individual scenes can be tense but the arc as a whole lacks momentum. I Smile Back should have been devastating. Silverman is willing to take you there. What it ends up being is frustrating.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Suspiria is as striking and severe as the director’s “Call Me by Your Name,” the best film of 2017, was warm and welcoming.

It aims for and earns genuine emotion rather than cheap thrills.

The Menu remains consistently dazzling as a feast for the eyes and ears.

Despite what the title suggests, Wonderstruck represents a rare disappointment from master filmmaker Todd Haynes.

Brad’s Status might be the most Ben Stillerish movie Ben Stiller has ever made, and that’s actually a good thing.