Glenn Kenny

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.

Tedesco is the son of the West Coast guitar great Tommy Tedesco, and he clearly has a knack for getting musicians to open up. The band members.

Wenders chooses to illuminate indirectly, and to compel the viewer to concoct questions of their own.

This is the farthest thing in the cinematic firmament from a world-changer you can imagine, but as an evening’s entertainment, it’ll more than do.

The movie also provides a smart primer on the “New German Cinema” Herzog helped bring into being during the 1960s.

This is suspenseful and cathartic, and even the schmaltzy stuff is so distinctly John Woo that it’s welcome.

The filmmakers do seem frequently flummoxed by the scale of the narrative, and you get a sense of them trying to cram a lot into a two-hour running time.

Against the Tide, a documentary directed by Sarvnik Kaur, depicts environmental disaster with an intimate lens.

The holiday themes feel arbitrary and tacked on; one guesses the script was rescued from Curtis’s bottom drawer and spruced up with some Christmas fairy dust. The story, finally, is only about a man who learns the true meaning of punctuality.

The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained.

The sensibility behind “The Strangler” is sufficiently unusual and stalwart.

[Roth] knows his stuff and he’s very adept at serving up both gross-outs and real leap-from-your-seat moments.