Frank Scheck

The only thing it delivers is unrelenting tedium. Every aspect of the production proves so amateurishly realized that it begins to feel a put-on, although the humor seems to be strictly unintentional.

Running a brisk 75 minutes, this is one of those rare documentaries that feels too short. Some of its stories could have been more fleshed out, greater historical context could have been provided, and its use of such musical selections as Bob Dylan's "The Times They Are a-Changin'" and Cyndi Lauper's "True Colors" are beyond cliche. But these are small quibbles about a film that should be essential viewing in these times when intolerance is on the rise.

Ironically, the most original aspect of Maximum Impact is its title. Somehow, it has never been used for an action movie before, despite sounding like every one ever made. And after this, it may never be used again.

A music documentary of uncommon richness.

The film strongly argues against the use of elephants for such things as giving rides to tourists and performing in circuses. What gives those arguments their moral force is the animals themselves, demonstrating intelligence, sociability and emotion.

While Ryan’s bountiful charm is as evident as ever, her character unfortunately comes across like an older version of the manic pixie dream girl. And the movie’s heavy-handed magical realist elements counter the slightness of the material to deadly effect.

This is such a uniquely bizarre story that it can't help but exert a certain fascination. But it's hard to avoid the feeling that it would have been better served by a compelling dramatization rather than this too-dry documentary.

Rather than delving deep into its subject, the film loses focus by concentrating on the feelings of Harlan's descendants rather than a deep analysis of the man himself.

Darker in tone but still extremely funny, the film, like so many of its animated brethren, falters when resorting to the frenetic action sequences seemingly designed for tykes’ short attention spans.

Dull, talk-heavy snoozer that most closely resembles something that would show up on the CW network.

Director-screenwriter Hopkins is unsuccessful in navigating the absurd storyline’s jarring tonal shifts, with the result that this kinder, gentler variation on Ms. 45 mainly emerges as off-puttingly bizarre.

Starts out as a potentially interesting psychological thriller before devolving into familiar horror movie tropes.

The Bibi Files paints a damning portrait of its subject’s machinations to stay in power.

The film is notable more for its unusual conceit than as a serious exploration of grief and familial relationships.

Good Boy works well enough on its own terms, managing to sustain sufficient tension throughout the course of its smartly concise 73-minute running time.

Kristina Lindstrom and Kristian Petri’s fascinating, if diffuse, documentary fills in that considerable blank in his public profile while making clear the lingering emotional impact of Andrésen’s brush with fame.

Unfortunately, while the film has some fascinating and compelling arguments, it quickly assumes the tone of an angry diatribe rather than a well-reasoned political discussion.

Postman Pat: The Movie is a mostly charmless and dark affair.

While the races, which go back hundreds of years, last no more than 90 seconds each, Palio packs enough intrigue into its proceedings to practically fuel a miniseries.

This sequel to 2016’s smash hit Oscar-winning animated film proves more than worth the lengthy wait, knocking it out of the park with its dazzling visuals, sophisticated humor and doses of genuine emotion.

Although it sketchily touches on many provocative issues -- the inhumanity of this form of incarceration, the relationship between the artist and subject -- Herman’s House fails to explore them in a fully satisfying manner.

Sky Ladder chronicles his life and career in illuminating fashion, beginning with his troubled childhood.