Gary Goldstein

Unfortunately, writer-director Emma Seligman’s Shiva Baby, despite its thematic acuity, loopy vitality and committed acting, doesn’t add up to enough in its too-brief 72 minutes (plus end credits) to warrant all the cross-wired mayhem that gets us over the movie’s dubious finish line.

Sr. proves a tender portrait and fitting tribute to an offbeat hero and creative pioneer.

The filmmakers’ choice to focus so heavily — and, unfortunately, dully — on the odd-couple friendship between the tightly-wound, workaholic Hughes (Hilary Swank) and the brashly spirited Riese (Helena Bonham Carter) instead of on the bigger-picture legal wranglings and wider effects of the landmark lawsuit against a San Francisco hospital may point to the chapter’s cinematic limitations.

Writer-director Jay Bulger combines warts-heavy interview footage of Baker with vivid archival bits, concert clips, jaunty animation and chats with various musical greats to paint a lively portrait of yet another brilliant but wildly self-destructive artist.

The result, directed by Mark Dennis and Ben Foster (not the actor) from Dennis’ script, is a handful of intriguing ideas in search of a more cohesive and dimensional narrative.

Dumisa masterfully — and entertainingly — builds, twists and compounds the tension as events spiral out of control and lives hang in the balance.

What you see is pretty much what you get. Fortunately, what we see is often vivid and lovely.

Bursting with a rich blend of timely themes, superb voice work, wonderful visuals and laugh-out-loud wit, Walt Disney Animation Studios' Zootopia is quite simply a great time at the movies.

Snow is excellent, though, as she attempts to inhabit her murky character. If only we had a better sense of what the movie was trying to say about faith — or the lack thereof.

Although the film builds an effective sense of dread and contains its share of unnerving visuals and well-timed scares, it proves far more psychological thrill ride than shockfest.

Though much of the movie was shot in secret to protect the filmmakers, Bailey and Thompson managed to create a remarkably vivid portrait of a land and its people, while bringing us two unforgettable heroes in Campbell and Freeth.

There’s certainly enough potential mayhem, desperation and danger here (including the gangsters on Sang-hyeon’s tail) for “Broker” to have become a dark, propulsive action-drama, in another filmmaker’s hands. But Kore-eda focuses on — and mines — the grace notes, better angels and soulfulness of his characters in such lovely and relatable ways that we’re grateful for his humanistic, more empathetic priorities.

The movie's intended audience will likely be satisfied by its parade of gory mayhem, cheap thrills and groan-worthy dark humor. Everyone else: You're on your own.

Although this well-acted film, which was Israel’s official submission for the 2022 international film Oscar, is a bit slow-going, it presents a timely, pointed, at times cleverly satirical snapshot of Israeli-Palestinian relations. It also offers an often poignant look at a dysfunctional family at the center of it all.

Clear-eyed, compassionate and compelling, the documentary “The Price of Freedom” efficiently unpacks and debunks the myths it posits the National Rifle Assn. of America has deployed to further its all-guns-all-the-time agenda and foster a culture war.

Beyond the Reach is a grueling, unsatisfying thriller that fails the logic test in spectacular ways.

Like the floundering filmmaker at its center, The Face of an Angel never seems sure of what story it wants to tell.

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.

An action-packed third act gives way to a bit of an anti-climactic ending. But it all moves so fast, furiously and unfussily that genre fans should be satisfied.

An exceptional tribute.

It’s a sporadically tense and ominous four-chapter ride that slowly envelops you in its near mythical — at times mystical — neo-western spell.

Proves a highly auspicious feature debut for Moors and Porto as well as a much-deserved return to the limelight for Washington. Don't miss it.

Theater lovers and Italophiles alike should savor the documentary Spettacolo.

In 70 short minutes, directors Dennis Scholl and Kareem Tabsch skillfully pack their Miami Beach-centric documentary, The Last Resort, with a wealth of visual, emotional, social, cultural and historical significance.

"Ain't in It" offers a warm and largely satisfying look at a man and his music and, for some, the end of an era.

It’s a haunting and masterful effort, but be warned: This is tough stuff.

Mosallam’s incisive and heartfelt, if occasionally on-the-nose, approach to matters of love, religion, family and culture sets the film apart.