Glenn Whipp

Crosby’s spirit remains vital, and he’s determined to fly that freak flag into that good night.

Even if you’re familiar with the facts, Icarus casts the depth of deception with an immediacy that’s often astounding.

That cost can be seen in the tight strain on Hawke's face. An actor with the gift of gab (most notably in his collaborations with Richard Linklater), Hawke here delivers a nuanced turn as a man on the threshold of emotional ruin.

Director Elizabeth Allen coaxes fine performances from her cast young and old, stumbling only when relying too heavily on musical cues (Katrina & the Waves' "Walking on Sunshine" needs to be permanently retired) and in the film's awkward CGI flights of imaginative fancy. Other than that, the movie is, to quote its young heroine, "terrifical."

Director David Lewis' movie functions as mostly a highlights reel rather than an exhaustive look at Hentoff's life.

Rustin is on firmer footing when detailing the creative spit-balling that created the framework that made the March on Washington possible, as well as the competing egos and interests that almost doomed it. You’d need a 10-part limited series to really do all this justice, but the movie puts across the complexities with a nimble shorthand.

Part of the appeal of Ticket to Paradise is seeing Roberts and Clooney together before they — and this type of glossy studio entertainment — become extinct.

When the plot circles back to those opening moments, the movie finds a momentum that ends spectacularly. And again: Benicio Del Toro is playing Pablo Escobar. What more do you need?

Throughout the film, Springsteen lavishes his bandmates with praise (“they can float like a butterfly and sting like a bee”) in voiceover segments that feel a bit more shopworn than when he unleashes them from the stage. But when Zimny lets the images speak for themselves, “Letter to You” achieves a moving power.

Jawline provides an evenhanded examination of celebrity and loneliness in the digital age.

The film's re-creations, some involving actors and some the girls themselves, aren't always successful, but the truths at their core are rock-solid. Illuminating and ultimately hopeful, despite the horrible circumstances depicted, Girl Rising stands as a testament to the power of information.

Marnier could have taken another pass at the film’s secondary characters (the upcoming thriller “Saltburn” has the same problem with its dysfunctional clan), and whatever notions he’s trying to put across about the patriarchy don’t quite land. But he has a star in the sparkling Calamy.

To complain that nothing much happens here or ponder the film's curiously tame view of university life (Rodney Dangerfield would most definitely get no respect here) is to miss the point of the movie, which is to serve as a vehicle for McCarthy, spotlighting her warm, screwball spirit and irrepressible physical comedy.

An insightful and wildly entertaining look at the wrestlers who ply their trade south of the border.

What distinguishes “Tigertail” is the way Yang explores Pin-Jui’s earlier life as a means of showing how duty and obligation brought him to that place. And as Yang takes us on that journey with him, he also offers a low-key lesson for redemption — examine the past to escape regret.

There's a push-pull dynamic coursing through the late-in-life romance Lovely, Still that keeps the film intriguing even when it looks like it's going to sink into sentimentality.

That Soul Surfer rates as a giant leap for this team speaks well about the conviction the movie's actors bring to the material as well as the respect afforded the Hamiltons and their faith.

Assaulted: Civil Rights Under Fire is a reasoned counter to Michael Moore's "Bowling for Columbine" and, as such, a constructive addition to the current national firearms debate.

While it’s easy to view “Axel F” as a calculated cash grab, it’s clear that Murphy possesses an affection for the title character. From the get-go, Murphy’s portrayal hinged on Axel’s ability to warmly connect with everyone he meets.

It's a tad overstuffed, but never lacks for interest. And Saulter, who serves as his own director of photography, has a poet's eye for detail, capturing the beauty of his native country, even in its most extreme poverty.

A brisk creature-feature that ditches the series' dreary mythology in favor of a more direct, action-oriented approach.

Director Francesco Zippel doesn’t challenge Friedkin, letting him spin his life’s work as he pleases.

For a movie about the creator of some of the most pointed, controversial comedies in television history, Norman Lear: Just Another Version of You has a curious habit of sidestepping some of the thornier and more interesting aspects of its subject’s life.

Ruben Östlund’s Palme d’Or-winning social satire, Triangle of Sadness, is many things: a cautionary tale about the perils of slurping shellfish on rough seas, a blunt (as in dull) critique of the one percent, a (wasted) opportunity to hear Woody Harrelson espouse the tenets of Karl Marx and a pessimistic suggestion that people — both the oppressors and the oppressed — share a fundamental willingness to exploit each other given the right circumstances.

The Creator itself eventually tries one’s patience with its incessant demands that you feel for characters and relationships that it hasn’t taken the care to develop.

Pugh gives Alma an edgy unpredictability that almost makes you believe some of the implausible things she does. And the expressive Garfield can convey water-eyed empathy so deftly that you know Tobias would be laid low if Almut so much as stubbed her toe on the leg of a coffee table.

The movie presents the best possible version of the event without the massive lines, drugs, drunkenness and hellish traffic.

Jang and screenwriter Park Sang-yeon recognize the situation's senselessness but can't resist ramping up the melodrama and celebrating the heroism of the battle-fatigued soldiers. These contradictory impulses, combined with the film's undercooked characters, make The Front Line a war movie not quite worth engaging.