Gary Goldstein

It's the film's well-wrought themes of friendship, self-esteem and responsibility that give this little adventure its ultimate power.

As broad as the side of a barn but much more amusing.

Love does a fine job evoking the social and cultural vibe of the Big Easy and its environs. He also enjoyably uses documentary-style testimonials from Melvin's devoted friends and supporters, inspired editing and a slew of nifty visual effects.

Directors Sheena M. Joyce and Don Argott could have easily ditched the stagy narrative bits (and behind-the scenes chats with the actors) and relied entirely on the vast amount of fascinating, well-assembled archival footage that, along with recent interviews with the late DeLorean’s children, co-workers, lawyer and other observers, nimbly recount the renegade’s complex, tabloid-ready adult life.

The doc, shot from 2019 to 2021, is more successful when it reminds us of the dazzling scope of the Voyager mission, especially in its early days when it fed the public’s appetite for real-life outer space adventure in the biggest way since the 1969 moon landing.

It all adds up to a timely, provocative and absorbing tale of money, power and a search for the truth.

It stands well on its own as a jumpy spookfest.

An involving, stacked deck of a story plus strong acting and a mix of vital themes combine to make The Citizen a solid drama about immigration, nationalism and survival in an often unforgiving world.

It’s a one-day-at-a-time kind of portrait that’s dispiriting, unsettling and undeniably authentic.

More epic than it needs to be and less profound than it should be, Jolene remains a watchable excursion into human frailty and foibles.

The oddly sympathetic, low-key and funny Phillips gets deft support from his limber costars, including Sarah Silverman, Jim Jeffries, Mike Judge and Mark Cohen. Amusing songs too.

Love & Taxes is an amusing, endearing trifle.

Lynch devotees should dig this respectful, offbeat portrait.

While the story's conceit brims with metaphor and symbolism, it rarely comes off as didactic or heavy-handed. Instead, it's smart and provocative. The movie's late-breaking twist also feels about right.

Proves a fast-paced and enjoyable if violent diversion that revels in its quirky characters, committed performances and involving twists.

This engaging, funny and frank new film also proves something of a cop-out, especially given the bullet train of a narrative concocted by writer-director Patrick Brice.

Unfortunately, the film often feels somewhat random and disorganized, with Newnham and Grainger-Monsen never zeroing in on a cohesive narrative structure. Still, the movie's engaging subjects (including several parents) and valuable themes largely carry the day.

Aided by its deft performances, the film manages its tricky emotional territory with aplomb, rarely dipping into sentimentality or easy conciliations.

This is a compelling and inspiring portrait of a singular life journey.

he film, a largely point-and-shoot affair, is an enjoyable, lightly satirical glimpse at the uneasy intersection of marriage, showbiz and life in Los Angeles.

An involving primer on the realities of homegrown versus global industrialization.

The feature's visual simplicity ends up countering the play's more florid, flamboyant elements, keeping the lean but intense story more centered and accessible.

Pacino bites off an awful lot here, yet, as our puckish, ebullient and, later, prickly guide on this kaleidoscopic journey, he manages to present an intriguing and passionate view of artistic risk and reward.

A vivid reminder of the hand-in-glove importance of right actor/right role — and the indispensability of those casting mavens who helped make movie history. Good stuff.

While this tenure-challenged Middle Eastern studies professor is hardly pleasant cinematic company, it's tough to look away.

Kudos to the Stedelijk for opening itself up to such firsthand scrutiny and to Vos for spotlighting such a vastly relevant topic in a way that’s both insightful and entertaining.

Director Dexter Fletcher ("Sunshine on Leith") keeps things enjoyably hurtling forward, even when the otherwise engaging script by Sean Macaulay and Simon Kelton overworks a cliché, shorthands certain practical and financial matters, or proves a bit one-note.

As a candid and involving socio-sexual time capsule of postwar to pre-AIDS Hollywood and how one free-thinking pioneer made a secret society of legendary artists and performers undeniably happy, “Scotty” definitely succeeds.