Gary Goldstein

With a unique narrative conceit and a highly root-worthy underdog at its center, the movie stands apart as a kind of feel-good, audio-visual experiment.

The film covers a great deal of honest, funny and timely ground, though be prepared to revisit some of Bush and Trump’s “greatest hits” via a rehashing of archival news clips.

The film could have used more social, cultural and geographical context. Still, this is such a moving, evocative and rare assemblage of souls, we’re grateful for its existence.

Although not exactly even-handed, the movie proves a deft look at a reluctant crusader and how financial sway and political override can so effectively trump the power of the average citizen.

Antiviral is often fascinating to watch. If Cronenberg's not yet a dead ringer for his iconic dad, he's taken an intriguing first step.

Misfortune recycles such familiar genre tropes as ill-gotten gains, double-crosses, ruthless gunplay and last-chance locales, but serves them up in a taut, twisty and involving way.

Misconception proves a smart, vital and absorbing portrait.

The film's more heartfelt moments are what ultimately work best.

Hauck, with a strong assist from Bill Fernandez's clever, well-modulated Techniscope lensing, impressively choreographs the movie's continuous takes with a nice balance of intimacy and breadth. Hauck's a talent to watch.

At its best, That Summer proves an effective time capsule aimed squarely at Beale devotees, adding light and context to the saga of this endlessly baffling and singularly captivating mother-daughter duo.

Although the story can feel chilly and oblique, it gets under your skin.

This is a soothing and transporting journey sure to inspire gardeners of all stripes to create their own slice of heaven.

A Good Person isn’t an easy ride but, like such disparate, if similarly themed, movies as “Rabbit Hole,” “Waves” and “Four Good Days,” it’s a haunting slice of real life that will make you think, feel and maybe even want to reach out to your loved ones.

Director Peeter Rebane and his co-writer (and star), Tom Prior (they also produced), have created a compelling, tender, tragic, occasionally melodramatic look at forbidden love and desire.

It's an enjoyable snapshot that effectively explores the colliding - often complicit - worlds of fame, entertainment publicity, the public's infatuation with gossip and the dogged paparazzi at the epicenter of it all.

This engaging, nicely observed look at a 30ish L.A. couple who allow each other a one-night stand to help reheat their 7-year-old marital bed moves quickly and simply.

Bwoy (Jamaican patois for boy), which largely plays like a stage-appropriate two-hander, is ultimately a surprising and cathartic, if often unsettling, film anchored by Rapp’s superb portrayal of a tortured soul desperate to connect. Brooks’ deftly enticing turn is also a standout.

Although this cleverly shot and edited picture (it began as a short, grew into a digital miniseries and was then expanded into a feature) doesn’t shy away from its eccentric side, it remains a convincing, relatable look at one woman’s inner workings and the vicissitudes of love and friendship.

Ultimately, more than 800 demonstrators died amid countless displays of bravery and commitment. Uprising is a vital and valuable tribute to these courageous men and women - and to love of country.

It's far from perfect, but The Rewrite is the kind of witty, enjoyable star vehicle in sadly short supply on screens these days.

It’s best not to attempt to fathom too much of what goes on in this colorful fantasy-adventure and simply take in its lushly shot and designed visuals, eye-popping effects, lively action and often lovely score.

Eldar and Abbas share candid, heartfelt observations about what they consider an internal culture war within Israeli society and its troubling effects.

I Am Not a Hipster is the kind of lovingly crafted, deeply affecting drama that gives small indie films a good name. It's also a terrific showcase for first-time feature writer-director Destin Daniel Cretton and his superb leading man, Dominic Bogart.

The often difficult squaring of religious fervor and sexual longing receives poignant, powerful treatment in The Revival, deftly directed by Jennifer Gerber from a sensitive script by Samuel Brett Williams, based on his stage play.

Although there are contrivances, and Joe’s blurry “catfishing” tale meanders, these folks’ emotional growth feels authentic and touchingly earned.

Director Anthony DiBlasi, working off an efficient script by Bruce Wood and Scott Poiley, skillfully tightens the screws on a story that leads to much collateral damage and an effective final showdown.

Although Planetarium may not wholly satisfy as the kind of statement film it so ambitiously aims to be, this intriguing drama, confidently directed by Rebecca Zlotowski (who co-wrote with Robin Campillo) proves a singular, at times haunting experience.