Glenn Kenny

Hong’s new film, “In Our Day,” is not atypical—it’s a plain-looking, often wry, and lightly nourishing character study with a diptych structure that adds enigmatic intrigue to the proceedings.

Since Maïwenn created Jeanne for herself, it may seem paradoxical to state that she’s all wrong for it. Nevertheless, her broad performance is a consistently unfortunate case study in “whatever she thinks she’s doing, this isn’t it.”

Evil Does Not Exist is something different, starting out as a character study cum eco parable and morphing into an enigmatic nightmare.

The mostly low-key mode of Nowhere Special is the right one. Norton is spectacular, but little Lamont delivers one of those uncanny performances that doesn’t seem like acting, and makes you feel for the kid almost as much as his onscreen parent does.

While the action and suspense set pieces are executed with typical Ritchie bravura, the movie falls flat a lot of the time in between.

This is an engaging and watchable activist documentary that does make way for optimism in its last minutes, but doesn’t, um, sugarcoat its envoi about changing our eating ways: “Not only can we do it, we have to.”

Kim’s Video, co-directed by David Redmon and Ashley Sabin and narrated by Redmon, is less a retail history than a shaggy dog story. One that actually appears to be true. Go in knowing that and you might get a kick out of it.

Bonello’s not here to tell us that the only thing to fear is fear itself. He’s here to tell us to be afraid—be very afraid. What he delivers is not just a densely packed art movie but the most potent horror picture of the decade so far.

Perhaps paradoxically, it’s when the film is at its most quiet that it’s also most persuasive.

Though two hours long, the movie moves as swiftly as a greased ferret through a Habitrail and delivers hallucinatory action highs for its extended climax.

Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character.

Limbo is entirely engrossing as it brings its discomfiting points home.

This is a terrific document and a testament.

In the end, even genre fans with relaxed standards might try to similarly rebel against this insipid offering.

The bag of ensuing twists in “Bring Him to Me” may not entirely redeem the clichés that made them possible, but they do keep one alert.

Despite its bona fides, the movies narrative and characterizations practically gorge on clichés.

On its surface, “Onlookers” is a movie that can be described very simply. For about an hour and twenty minutes, a series of very neatly composed shots depict natives of Laos and tourists observing a variety of sights and sites.

Land of Bad, directed by William Eubank from a script he wrote with David Frigerio, is commendable in the abstract for depicting the realities of 21st-century warfare both narratively and thematically.

The story told in “Out of Darkness” is ultimately sad more than terrifying, a parable about violence and the roots of human war. It’s an impressively credible and gnarly journey back in time.

True-crime doc watchers who are in committed relationships may see Lover, Stalker, Killer, a bracing account of a lurid series of misdeeds directed by Sam Hobkinson, and breathe a sigh of relief over being out of the dating pool.

The movie reminded me of what Peter Bogdanovich said of Ford’s “The Man Who Shot Liberty Valance”: that it "is not a young man’s movie; it has the wisdom and poetic perceptions of an artist knowingly nearing the end of his life and career." The wisdom and poetry here are just as real and just as thoroughly felt.

While the making of the song was partially detailed in its long-form video, there’s plenty of new, engaging, and sometimes eyebrow-raising anecdotal material here.

The one constant of life is change, and our own individual relations to the place we grew up, or came of age, in are invariably complicated not by just the alterations in the landscape but the way our perspectives shift...The Brazilian filmmaker Kleber Mendonça Filho understands this feeling just as well as I and maybe you do, and he’s made a lovely, enveloping film about it, called “Pictures of Ghosts.”

The bare facts of Carter Cash’s story are such that the filmmakers would have had to really mess up to not produce a movie that entertains and moves a viewer to tears. “June,” rest assured, does the job well.

The viewer might strap themselves in for some life lessons. “Driving Madeleine” does serve them up, sure, but the film, written and directed by Christian Carion, is a lot more than a sentimental journey.

Few things in this laboriously quirky picture mesh at all.

An all-star roster of interviewees, including the luminaries Mel Tormé and Buddy Rich, contributes to an unfailingly entertaining saga.

In the end, Migration moves along at jet speed while often feeling labored.