Elizabeth Weitzman

This ambitious approach is, unfortunately, more intriguing than effective.

By the time the film was finished, I felt ready to move on from these characters. But I was definitely ready to learn more about Norwood.

If you’re willing to take the movie for what it really is — a fairly generic caper inspired by, rather than based on, actual events — you’ll find just enough to appreciate.

Every moment indicates deep compassion for Orna, and anyone else who might be driven to see a multi-layered message movie for the #MeToo era.

Exhibiting a dexterity that suggests far more extensive directorial experience, Ejiofor proves himself a master of impact. His visual approach is expansive and evocative, thanks also to the fine work of cinematographer Dick Pope.

It is a gem likely to stay with anyone smart enough to seek it out.

The Invisibles is a powerful testament to the remarkable courage of those forced into heroism, and to the exceptional strength of those who chose it freely.

Danluck (“North of South, West of East”) gets us halfway there, with a solid cast and crew, an apt depiction of emotional exhaustion, and a heroine we want to root for in a strange setting we’re ready to embrace. But she floats too ineffectually between dream and nightmare, never settling on one or committing to the other.

It’s hard to say whether Branagh is concerned about getting things wrong, or of being disrespectful. But he never finds the freedom he’s unlocked so often in Shakespeare’s own works. His ambition is honorable, but without substance, it becomes merely the shadow of a dream.

This was, undeniably, a risky proposition; no one wants to airbrush history. But by thoughtfully employing cutting-edge technology, Jackson has instead created an essential portal connecting audiences of the present to his subjects in the past.

A big heart and strong cast go a long way towards elevating its prosaic approach.

We’re told over and over how stunning, how sensitive, how remarkable he is. But he’s such a blank slate that there’s not much actual evidence of these traits. It’s not Dickinson’s fault; he’s been directed towards a particular style of performance that favors tell over show.

A militaristic B-movie heavy on action but light on faux-patriotic bombast? It seems fair to call that its own kind of treasure.

What’s particularly disappointing about this effort is the amount of talent wasted.

Hill’s made an unabashed love letter to a particular decade, sure, but also to a specific moment in everyone’s life. And while he undercuts his own movie by romanticizing even the most extreme experiences of lost innocence, the purity of Stevie’s longing makes the movie’s wistful fantasy understandable.

Anyone with some patience and a penchant for thoughtful ambiguity will find more than enough rewards here, from Gyllenhaal’s intelligent performance to Colangelo’s empathetic insight. True, it’s not always an easy movie to sit through. But the impact of Lisa’s plight lingers long after her fate’s been sealed.

As both writer and director, Jenkins pushes us to rise above judgment by steadfastly refusing to indulge in it herself. Deep empathy suffuses the screen, enveloping every one of the characters.

This version seems to have been made not to honor Alcott’s little women but instead to please the parents who want blandly wholesome family entertainment for their own. One can only imagine what Jo herself would have to say on the subject.

As a traditional period biopic, it checks all the boxes in fine fashion. But you’d never know it was inspired by a woman whose life was expansive and contradictory and unwieldy in the extreme.

Her update on “Ice Storm”-style suburban ennui feels particularly potent right now, in its vision of a rotting establishment. But in the end, Anders’ deeply-rooted entitlement proves regrettably unassailable.

The weight of history is a heavy burden for one film to carry, especially when freighted still further by contemporary parallels. Ultimately, Leyna is as much a symbol as a fully-drawn character, one young girl representing multitudes. Nevertheless, those who find their way to her essential story will come away not only enlightened, but undeniably touched.

It’s a shame the filmmakers felt constrained by the import of their subject matter, rather than inspired to take some artistic risks. But even when the storytelling falters, the story itself — not merely extraordinary, but eternally relevant — remains paramount.

So we have a compelling storyline, and characters we genuinely care about. But since Akhavan doesn’t drill deeply enough, the movie ends at what should be its midpoint. And her lovely final shot winds up feeling as avoidant as it is poignant.

For the most part, writer-director Stephen Susco (“The Grudge”) sees the Internet as a gimmick, a way to get some attractive, disposable protagonists from Point A to Point B. (Point A is “alive,” so…).

It’s no easy task to find a fresh way to approach a familiar face, but D’Apolito does a wonderful job ushering us through the highs and lows of Gilda Radner’s life.

If Boyd’s perspective is limited, his focus is sharp.

Though the material isn’t quite ready for primetime, Winstead once again proves herself a major player.

Franco’s rather flat narration doesn’t do justice to Crane’s verse, but he is a charismatic onscreen presence.