Frank Scheck

While this effort from filmmaker Steven Lewis Simpson (who serves as director, producer, cinematographer, editor and co-screenwriter) is somewhat lacking in technical polish, it boasts an undeniable emotional power and authenticity. Much of that stems from the casting of Dave Bald Eagle in the pivotal role of a Lakota elder.

It’s a marvelously imaginative conceit that transforms what could have been yet another dryly informative documentary into the realm of art.

Shlomit Nechama’s screenplay makes the proceedings compelling while mining gentle humor from the foibles of the mostly endearing characters, expertly played by the large ensemble.

One of the more effective entries in what has essentially become a documentary subgenre, the film focuses on the surviving Green Berets who recall their experiences with a combination of pride and sorrow.

The visual style and the natural, unaffected performances by a talented cast help create an atmosphere of verisimilitude that makes the story all the more powerful. [23 Oct. 1996]

Besides the raucous, de rigueur action sequences, Transformers One provides numerous witty jokes of both the verbal and visual variety and — surprise, surprise — genuine emotion. Consider this a franchise revitalized.

Bursting with the vibrancy of youth, both behind and in front of the camera, Days of the Whale feels comfortably familiar in its themes but daringly bold in its milieu.

Despite its heavy-duty subject matter, the film co-directed by Capobianco and Pierre-Luc Granjon is filled with welcome humor of both the visual and verbal varieties.

There are times when Black Phone 2 wears its stylistic influences — including not only the Nightmare on Elm Street films but many other horror movies from the ‘80s — too heavily on its sleeve. But the extensive borrowings are easily forgiven when the set pieces are delivered with the sort of panache that they are here.

Director Overbay, working from an effective screenplay by his wife Ginny Lee Overbay, slowly ratchets up the tension in quietly compelling fashion.

This hilariously meta reboot — excuse me, comeback — is everything the recent Space Jam sequel desperately attempted but failed to be. Premiering exclusively on Disney+, it’s the funniest movie of the year so far, either animated or live-action.

This fascinating tale is told with uncommon depth and nuance.

It's the hugely appealing White and Monroe who authoritatively carry the film, mining the material for all its pathos and humor and displaying the sort of chemistry more often aspired to than achieved in romantic films. They make it look easy, as do the talented filmmakers.

Infused with psychological complexity and nuanced characterizations, Ouija: Origin of Evil falters only in the final section.

The gorgeous and often forbidding scenery (there's a harrowing episode set in an underground lava tunnel) should provide a visual balm to those suffering the claustrophobic effects of quarantining. The terrific music score, featuring numerous contributions by The Avett Brothers, feels like a bonus.

Comprising seven individual films with a cumulative running time of more than 8 1/2 hours, Have You Heard From Johannesburg (the title comes from a Gil Scott-Heron song) naturally will find a more receptive home on television and home video, but New York's Film Forum, presenting it in three parts, is to be commended for giving the series its world theatrical premiere.

Its subjects are indeed a fascinating and diverse lot.

Despite his obvious infirmities, Reilly infuses his performance with a great deal of energy -- frequently shouting his lines for emphasis -- and, of course, perfect comic timing. It's fortunate that we have this filmed record -- directed by Barry Poltermann and Frank Anderson -- of a memorable solo performance by a true show business original.

Few films feel as cathartic as James Solomon's documentary The Witness.

Handling its complex issues and complicated plot developments with forceful clarity, the film proves simultaneously heartbreaking and inspirational.

Beautifully captures the distinctive wit of its subject.

This striking cinematic collage provides a hauntingly personal perspective on a country that has been wracked by strife from its very beginnings.

Although it eventually settles into familiar genre tropes, for much of its running time Daniel Isn't Real proves a genuinely provocative shocker.

Grippingly depicting the ensuing tensions that constantly threaten to spill over into violence — even while raising discomfiting questions about the scope of First Amendment rights — the film is a nail-biter from start to finish.

Although its central issue is sadly familiar (but hopefully won’t be for much longer), No Dress Code Required offers a heartwarming affirmation that decency sometimes prevails.

From its desert landscapes to its principal setting of an architecturally distinguished house to its extremely photogenic lead actress, every frame of the psychological thriller proves visually stunning to behold. While the film never manages to achieve the level of suspense that would make it dramatically riveting, it certainly earns its art house credentials on a purely visceral level.

A touching reminder of music's ability to change the world.

Those willing to embrace this entry’s greater thematic and stylistic ambitions will find much to savor, including the stirring lead performance by Ralph Fiennes. The actor not only manages to give a fully committed dramatic portrayal that doesn’t give a hint of the material’s underlying silliness, but also demonstrates that he could have been a terrific James Bond if given the chance.