Glenn Kenny

There’s subtlety, and then there’s deliberate evasion. In pursuing the former, “Chile ‘76” only achieves the latter.

If there’s one thing this movie demonstrates, it’s that whatever the actual function of said monarchy, it does give Britain’s taxpayers their money’s worth in drama if nothing else.

Green’s approach as the narrator is sometimes a little too “gee whillikers” to suit the tastes of this grumpy old man, but 32 Sounds hit my sound and vision sweet spot just fine most of the time.

It’s a movie with its heart in the right place and its sense of drama nowhere in sight.

Not a call to action, River instead contents itself by being a sensational reminder of where it is we all come from.

Here, Romano sticks to the outer-borough Italian American milieu of his series. The results are mixed.

These caretakers are all too human. The movie somehow turns that into a reason to admire them all the more.

Whatever the truth of Ono’s manipulations in this affair — and Pang’s claims, including that Ono asked Pang to look after Lennon in an especially personal way, are at times hair-raising — they tinge this saga with a resentment that’s off-putting.

While it keeps a sharp, neo-realist-influenced eye on the everyday lives of its characters, Joyland often gets so intimate as to discomfit the viewer to the point of exasperation. But the movie itself never judges.

This movie gets better the more it strays from its real-life models and into hazy hallucinatory American weirdness. But the snotty dismissiveness with which it treats country music ultimately overwhelms its intriguing qualities.

A repetitious feel begins to take over. For some viewers, quietude may yield to boredom.

While Hedlund’s character eventually melts into the kind of dissolute puddle that Hedlund has made performance meals of before, no real dividends are paid off on the viewer’s investment of time.

The movie strives for a knowing, amiable tone. It achieves a cutesy, slight one instead.

Even as this movie goes deep on still vital topics, it doesn’t skimp on baseball dish.

In a way it’s kind of neat. In another way it’s kind of dopey. The movie toggles between those two states throughout.

This movie grabs you by the heart quickly and doesn’t let up the stress for any significant amount of time.

The Innocent is quirky, touching, and well-played fun.

The film is an unusually layered look at how the combination of privation, misplaced familial loyalty and just plain rotten luck can make the immigrant experience in America a nightmare.

The three principal actors, particularly Sierra, are appealing. But the story is thin, and the jokes are more cute than funny.

The Integrity of Joseph Chambers is a reasonably well-constructed non-hero’s journey that may resonate with you if you’re not already sick of movies set on anatomizing the Crisis of White Masculinity in These United States. This reviewer finds the topic tiresome, tiring, aesthetically unappealing, and banal.

The result is dramatically wonky — and eccentrically thought-provoking.

Revisionist this may be, but it’s done with smarts and, sure ... perceptiveness and sensitivity.

The movie can’t help but function as an apologia for the ruling class.

The situations in this scrupulous, compassionate, and quietly captivating picture, written and directed by Maryam Touzani, are tense, to be sure. But the movie itself doesn’t surrender to the tension. It depicts unruly passions as they stir the lives of circumspect characters.

This film, relatively modest in scale but broad in ambition, offers three stories of music makers and devotees. It’s a mixed bag, alternating conventional homily with genuine, substantial analysis.

If The Locksmith offers anything new, it’s in neutering the genre.

The collision of her good-faith lack of inhibition with institutionalized misogyny makes this Canadian’s biography a very disquieting American story.

The Man in the Basement doesn’t endorse a single answer; it ends on a deliberately tentative note, leaving the viewer thoroughly unsettled.