Geoff Berkshire

The hypnotically paced drama carried by the serendipitous odd-couple pairing of John Cho and Haley Lu Richardson is lovely and tender, marking Kogonada as an auteur to watch.

Although Captive largely succeeds as a two-hander, it stumbles in the minimal attempts to broaden the scope beyond Smith and Nichols’ time together.

Comedian and actor Kumail Nanjiani and writer Emily V. Gordon mine their personal history for laughs, heartache, and hard-earned insight in The Big Sick, a film that’s by turns romantic, rueful, and hilarious.

Although limited in scope, the feature documentary debut of TV news veteran Cary Bell benefits greatly from the infectious personality of its subject, Abigail Evans.

Even if every word of Coogler’s account of the last day in Grant’s life held up under close scrutiny, the film would still ring false in its relentlessly positive portrayal of its subject.

Filmmakers Josh Kriegman (a former Weiner aide) and Elyse Steinberg utilize their seemingly unfettered access to deliver a rollicking and never-dull insider’s view of a political campaign in crisis mode, but the most fascinating questions surrounding Weiner’s epic fall remain unanswered.

The script is executed with enough naturalism to ward off complaints of contrivance — all the way up to a tidy, but quite satisfying, denouement.

Without any fuss, Lipitz has made a film deeply rooted in intergenerational relationships between women.

This character-driven picture takes its time marinating in quiet conversations and Austin atmosphere, making the sudden jolts of violence all the more shocking when they land.

Tweel masterfully assembles roughly four years of footage, much of it shot by Gleason himself, and the result is painfully raw at times but undeniably rewarding.

With the gripping appeal of a great epic novel, Kief Davidson and Pedro Kos’ documentary spans three decades of diligent work on the frontlines of global health crises to prove, in moving detail, the difference dedicated professionals can make in seemingly hopeless situations.

There’s more than a whiff of both Michael Haneke and Ruben Östlund to the proceedings, except the characters never emerge as fully as they do in the best of those filmmakers’ works.

Headland demonstrated little interest in playing it safe with her previous film... But here she reins in that impulse almost too much, and Sleeping With Other People winds up both looking (with its adequate but unremarkable tech package) and often feeling like a run-of-the-mill studio comedy.

For most of its running time, Relic feels more like a chamber piece than a full-fledged horror outing, but a nail-biting third act ups the ante.

[A] fascinating but only intermittently insightful film.

Narco Cultura is as overwhelming as it is absorbing.

The film’s strongest assets are undoubtedly its actors.

Beyond the Lights is a strange beast, a music-industry romance that alternates freely between wisdom and mawkishness, caustic entertainment-biz critique and naive wish fulfillment, heartfelt flourishes and soap-opera shenanigans.

An exercise in hero worship that doesn’t shy away from its subject’s least admirable traits, “Being Evel” attempts to deliver a complex portrait of a man who preferred to be seen as a self-styled myth

The Internet’s Own Boy is a beautifully crafted film that opens a window on a world not everyone has entered yet, and exposes ways in which both the legal system and the U.S. government is lagging hopelessly behind technology.

Exceedingly stylish and ultimately quite silly, The Signal is a sci-fi head trip better appreciated for the journey than the destination.

It’s not necessarily artful, but it’s also never less than compelling. If anything, Soechtig has only refined her skills at packaging a slick, audience-friendly documentary with a subject that feels even more urgent.

Writer-director Jim Strouse (“Grace Is Gone,” “The Winning Season”) places Williams at the center of a thoroughly conventional indie narrative — trusting his star’s sensibility to freshen up otherwise stale scenarios. Fortunately, Williams delivers on every count.

A formulaic and functional documentary that nevertheless proves effective at getting the message out about America’s addiction to unhealthy food.

Earth to Echo reaches for the stars with its gentle sci-fi shenanigans, but the rote result remains decidedly earthbound.

Results are simple-minded at best, contemptible at worst; most audiences would rather watch anything else.

The breezily likable pic benefits from an underexposed topic and solid execution.

Greener Grass is a movie that’s not only immediately destined for cult status — it’s the rare movie that truly earns it.