Eric Kohn

Sorry Angel doesn’t strain from too much ambition; it’s a sharp snapshot of two men at pivotal moments in their lives, and ends on a note not too different from the one it starts on. But that cycle is central to its gentle intellectual flow.

Wanuri Kahiu’s sophomore feature is just good enough to give its modest intentions a historic purpose, bringing fresh context to an old formula while hitting the expected emotional beats.

Rise to the challenge, and payoff awaits on the other side: a formulaic story transformed into something more perceptive and profound. If only more family dramas took such care to get the details right.

The best thing about writer-director A.B. Shawky’s feature-length debu...is the way it burrows inside Beshay’s life without devolving into a pity party.

The unexpected love child of Wong Kar-wai and Andrei Tarkovsky, “Long Day’s Journey Into Night” transforms from a lush, slow-burn pastiche to an audacious filmmaking gamble while maintaining the pictorial sophistication of its earlier section. It’s both languorous and eye-popping at once.

The Man Who Killed Don Quixote sits alongside much of Gilliam’s late period work as a messy but singular achievement that strains to make its disparate parts fit together, but there’s a noble spirit of invention to its wackiness anyway.