Esther Zuckerman

Selena y Los Dinos is no mere tribute, it is a vibrant argument for Selena’s humanity, as well as her status as a legend.

A waste of a talented cast, including Brian Cox, who pulls double duty as director.

Apatow shoots her mother with obvious affection, especially in her scenes opposite Dora. Yet, it’s the dudes who steal the show. Feldman and Hoffman have that magnetic chemistry.

Squibb is absolutely wonderful from beginning to end.

The movie’s secret weapon, in many ways, is not Washington but rather A$AP Rocky, who emerges in the second half to give a performance so fun it’s easy to anoint him the next big movie star.

Though Sentimental Value is about the use of art as a tool for communication, it’s not so trite a movie to say that art heals all wounds. But it’s also not a cynical film. Once again, Trier defies convention by finding grace that is so profound it can be walloping.

Rental Family, directed by Hikari, displays an almost admirable amount of restraint in its tear jerking, opting for quieter moments of grace rather than overdone emotion. In fact, it’s so restrained that Fraser’s Phillip Vandarpleog is not much of a character at all, and you leave itching for more of his inner life.

This movie is not about suicide, which would mean it would be about death. Rather, it’s about life, life that is far more complex than the soundbite clips from the past can give.

It’s a slight work that is too enamored with its own quirkiness to amount to much of anything at all.

It’s shaggy in places and favors one side of its story above the other, but ultimately makes for a delightful time.

Pillion is often very funny without ever kinkshaming, thanks to the wry script, Skarsgård’s deadpan, and Melling’s guilelessness.

Threapleton is so good in part because you can see the conflict play out on her face, even as she delivers Anderson’s idiosyncratic dialogue with rhythmic perfection. She is also just fantastically cool, rocking a habit like a Met Gala look.

Whenever it feels like the plot is verging into territory we’ve seen before, you can just train your attention back onto Lawrence and be completely mesmerized.

While you ponder the tragedy of what you just witnessed, you are left stunned by how talented Dickinson and Dillane are. It’s the kind of work that makes you excited to see what they do next.

Just like there’s something cruel about the way Dangerous Animals treats women, there’s also something thoughtless about the way it deploys its undersea threats. Sure, they’re not ultimately the bad guys, but haven’t they suffered enough bad press over the years?

Eddington isn’t a movie that moralizes, but at the same time it doesn’t take the stance that both sides make some good points. Rather it’s a period piece about recent history that articulates why everything feels so doomed right now while still finding the space to be utterly ridiculous.

It’s an incredibly rewarding journey, a film indebted to the past that feels brilliantly alive.

Two Women has nothing innovative to say about women’s desire at this moment in time. It feels like it might have been revelatory 10 years ago, but now women deserve more. Sure, sex is good, but it’s not enough.

Ultimately Holder argues that — despite gentrification — this place is still magical, except we never see any of the magic of which she speaks. We see a fantasy land, but that’s not the same thing as the true magic the city can offer.

Throughout the very funny film directed by Lawrence Lamont and written by Syreeta Singleton, you are treated time and time again to the brilliance of Palmer — how she can transform any bit of dialogue into a laugh line, or make her eyes glimmer with gags.

"Never Too Late” is a competent but largely conventional look at John, which focuses on the most documented part of his life: His astronomical rise in the first half of the 1970s. With

Even when Heretic slides into nonsense, it's always fun to watch thanks to the excellent trio of performances with Grant setting the kooky tone.

The lessons of The Wild Robot are simple, but the artistry it uses to get there is anything but. It’s the kind of kids movie that feels all too rare with its painterly backdrops and genuine earnestness. The whole family is likely to fall in love.

Fly is divided between thinking all of this is extremely cool and realizing how morbid it all seems, but it ultimately lands on the side of: Yeah, it’s pretty cool. That’s a disorienting feeling for a viewer.

The horror is so creative and over the top, you don’t mind the lack of world building.

It’s the brilliance with which Erradi performs, especially in the musical sequences, and the touching portrait of a woman pursuing her art despite the world seemingly conspiring against her to do so, that sustain and invigorate the film.

The biggest problem with Horizon is that, even with its lengthy running time, Costner has only scratched the surface of the “saga” he’s trying to tell. There is no arc to what happens, just the seemingly unending introduction of characters.

Whenever Stan and Strong are on screen together, The Apprentice can be magnetic, two actors at the top of their game trying to locate the malevolent soul of these public figures.