Frank Scheck

The storyline is hardly original, but it does provide the opportunity for Rebeck to unleash wickedly scathing observations about the sort of self-obsessed show business types who pursue their own interests no matter who it hurts.

For better or worse, Ant-Man and the Wasp: Quantumania is the most overtly sci-fi film in the series, and on that level, it succeeds very well.

There's no denying that this is a fascinating story, albeit one that raises far more questions than it answers.

The film's satirical commentary about the intersection of politics and art is rarified, to be sure, but there is enough pointed humor in its execution to make The Juche Idea a provocative if intellectually challenging experience.

Even with its brief 93-minute running time, Strays feels thin and repetitive; after all, there are only so many times you can laugh at, say, a dog happily eating another’s dog vomit. But the film nonetheless delivers plenty of laughs, making up for many of its clunkers through sheer volume and the talents of its starry voice cast.

The filmmaker's intent was obviously to concentrate on the specific incident and its aftermath, but personal details would probably have enhanced the overall emotional impact. Nonetheless, 16 Shots is a worthy addition to what has sadly become a proliferating documentary subgenre.

Highly entertaining and frequently fascinating.

It definitely delivers the goods, making it fairly obvious that DCI John Luther isn’t going away anytime soon.

The performances are all fine, with Sawa and Stahl providing forceful presences. But Sullivan is particularly memorable, delivering the sort of galvanizing, physically and emotionally demanding turn that would be of the star-making variety if Hunter Hunter were to be seen by a wide audience.

The dramatic story is related here in a somewhat diffuse and scattershot fashion that reduces some of its impact. But there is no denying its emotional resonance.

Reveals writer-director Lee Toland Krieger as a talent worth watching.

Tells a gripping story that resonates with numerous subtexts.

The admirably tasteful result is a social study far more suited for the likes of Oprah Winfrey than Jerry Springer.

Bezmozgis, whose previous feature was 2009's Victoria Day, is more assured as a writer than filmmaker, with Natasha featuring a bland visual and editing style. But he's elicited fine performances from the ensemble.

A thorough knowledge of Israeli history and politics would be helpful for viewers, as Rabin in His Own Words is sometimes sketchy and scattershot in its narrative. But its subject emerges as a thoughtful and articulate chronicler, and the wealth of footage presented, including rare home movies, is consistently fascinating.

Both informative and moving.

The film, which feels overlong at 145 minutes, suffers both from repetition and an over-reliance on melodramatic plot devices. But it nonetheless delivers a compelling portrait of a heroine whose story is too little-known.

This Seagull proves a worthy if hardly definitive adaptation of the classic drama.

The film is narrated by Kathleen Turner in her inimitable husky style, with the actress receiving a final credit as one of the volunteers at ground zero.

A fully rounded and complicated portrait of both the man and a company that somehow managed to survive under devastating circumstances.

Fans will be relieved to know that this Hellraiser definitely doesn’t skimp on the gore, providing enough viscera and flayed skin to satisfy the most bloodthirsty viewers.

The ensemble cast -- ranging from an Oscar winner (De Niro) and faded action star (Seagal) to a B-movie vet (Fahey) and tabloid fodder (Lindsay Lohan, not exactly playing against type as a drugged-out, hell-raising sexpot) -- pretty much offers something for everybody.

Despite the often insightful comments by the various cast members and Shepard himself -- the film doesn't dig very deeply into the artistic process of putting on a new play. But it does offer a fascinating fly-on-the-wall perspective.

Its razor-sharp script by Christopher Markus and Stephen McFeely and the hilariously deadpan comic performances by Ben Kingsley and Tea Leoni make it a consistent pleasure.

Detour is a tautly efficient thriller that fully succeeds in making the viewer identify with its hapless protagonist’s desperate plight.

A Whale of a Tale delivers a thoughtful riposte to The Cove even while providing plenty of opportunity for those opposed to the practice of killing or capturing whales and dolphins to make their case.

Southbound should well please genre fans nostalgic for the likes of Tales From the Crypt and Creepshow.

Highly informative and likely to increase enrollment at film schools.