Gregory Ellwood

Despite Deakins and Mendes’ shorthand in framing gorgeous images, there are moments, especially in the second act, where the film could simply use a bit more energy. Luckily, for Mendes, Colman provides it soon after and when the movie needs it most.

Ewing makes a creative decision in the final act of the picture which simply sucks all the air out of the room.

Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.

Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

A taught 91 minutes, September 5 is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work.

The filmmakers are beyond lucky to have the performances from Smith and Ellis, as well as Venus’ own incredible story, to keep you captivated when it matters most.

Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

Unless you have truly transcendent performances or unforgettable cinematic moments, it’s difficult for this genre of sports story to really throw a unique punch.

Cedar’s smart dialogue and direction lift Norman: The Moderate Rise and Tragic Fall of a New York Fixer (hereby just referred to as ‘Norman’) above expectations.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

There are definitely some logical gaps in Ford’s screenplay and perhaps the consequences could be slightly more dangerous (intriguingly, guns barely appear throughout the proceedings), but as a filmmaker, he displays a keen awareness of racking up the tension when necessary and not overdoing it when it’s not.

Colangelo’s adaptation continually feels like it’s missing something.... Luckily though, Collangelo has Gyllenhaal, who is exceptional at times here, to carry it through.

As Love Me unfolds, it becomes an exercise to explore how very human emotions affect evolving artificial intelligence beings. Although referring to it as an exercise sounds unfairly cold. The movie is certainly not that. Both Stewart and Yeun bring passion to their characters. . . But something feels off.

[Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

What Blair is trying to do is quite ambitious for his first feature. He alternates moments of high comedy with serious tension and a touch of magic realism for kicks. For the most part, the tone works.

Somehow the filmmakers found lightheartedness and – gasp – laughs in a story of political intrigue at the top of the notoriously buttoned-up Catholic Church.

Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.

What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.

Few would argue that Oldman isn’t one of the finest actors of his generation, but this is a tour de force portrayal that will define his body of work for decades to come.

Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.

The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.

As a filmmaker, Walker-Silverman’s talents are letting a narrative unfold without pretense or melodrama. When the events are this powerful you don’t need to ratchet up the stakes.

While the filmmaker has a better grasp on conveying well-staged melodrama than many of his contemporaries half his age (Fabio Massimo Capogrosso’s score and Francesco Di Giacomo‘s cinematography assist), the heart of the story somehow still gets lost. Even a final scene that should capture the tragedy of this tale falls surprisingly flat.

There are elements of “The Yellow Birds” that should equate to a unique cinematic experience. Unfortunately, like Bartle’s return home, you leave the theater somewhat dazed, confused and thinking of what went wrong.

In the hands of another filmmaker, these events could be the sparks of loud and fiery confrontations, but Simón insists they play out in a grounded, quiet fashion. There is barely a hint of melodrama, even when you can sense the tension amongst the siblings and their parents.

Thankfully, the film has Jamie Foxx on the bench in a truly funny and passionate turn as legendary lawyer Willie E. Gary.

Ultimately, not only has Park crafted an often hilarious and entertaining coming-of-age movie, but a surprise tearjerker.

In the end it’s really Eastwood who makes sure the film transcends the typical biopic tropes. At a spry 86 it’s unclear how much longer he’ll remain behind the director’s chair, but “Sully” proves that with the proper material and actors he can still stir emotions with the best of them.

Over the course of three and a half hours, Bang both refutes and affirms the criticisms over working conditions for these workers, many of whom are migrants, traveling hundreds of miles (or more) to make money for their families back home.

It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.

The storyline is so predictable, in fact, that despite Lafosse’s skills at crafting a scene the narrative simply leaves you wanting. The actors, on the other hand, carry most of your attention because they simply have to.

Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.

The movie has its issues. . . The wrestling though? The action in the ring? Durkin’s direction of those classic matches? It often looks more “real” than the WWE or professional wrestling you see on television today.

The picture is genuinely entertaining and moving, but the fact it even exists in the first place is something you simply cannot dismiss.

What’s often most striking about Inside Out 2, however, is how the arguments and conflicts between these emotions often feel as though they are speaking directly to the adults in the audience.

What there is, however, is Nasibullina and she makes you root for Velya despite all the character’s faults

It’s a subtle and poignant performance that makes you eager for Richardson to have an even bigger spotlight in he next endeavor.

Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.

Disappointingly, and despite the best intentions, Durham’s overwritten script diminishes some potentially truly moving moments over the course of the picture. There is simply too much clunky exposition.

The conflicts are obviously real, but there is something about the tone that’s just off through most of the picture.

It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.

You wish the film had a slightly more queer eye behind the camera (yes, that’s a genuine thing, Andrew Ahn’s “Fire Island” is an excellent recent example). Even for a major studio production, it might have helped. But if everyone around you is laughing, maybe it doesn’t matter. It probably means another Bros gets made which, hey, wouldn’t be a bad thing at all.

The problem with Dosunmu’s follow-up to the more compelling “Mother Of George” is that there is so little story — and what story there is moves at such a snail’s pace — that all you have to look at are Young’s impressive compositions and then you wait…and then wait some more.

A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.

Where it surprises is in Bell’s fantastic performance and the fact it eventually stops becoming a laugh out loud comedy. It soon dives into much more of a heartwarming drama with a few random jokes thrown in.

Nine Days is the sort of original cinematic art that, these days, is few and far between.

The Outrun begins and ends with Ronan. There are very few moments in the movie where she isn’t on screen, and to say she’s up for the challenge is an understatement. It’s a very strong performance and, somewhat impressively, not as showy as you might expect given the material.

If not for Sareum’s charismatic performance the film might fold like a house of cards.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

Make no mistake; there is no disputing this is clearly one of Marvel’s better efforts. And, yes, attempting to break from the expected shackles of a lineage of other origin movies is difficult, but you still feel the formula straining at the core of Doctor Strange.

As the story progresses it becomes less and less interesting and worst of all – gasp – cliché.

It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

The film’s saving graces is not only Ahmed, who, as you’d expect, elevates the material every chance he gets, but his on-screen connection with Chauhan. Somehow, the relatively unknown Canadian actor gives one of the best performances from a young actor in recent memory.

As always, Lelio has a way with his actors. Nothing will ever feel forced. Even the most melodramatic stakes will feel grounded. And yet, despite a pointless framing device the film simply does not need, it’s missing some of the visual magic of his earlier films.

Beyond the performances, this new “Macbeth” benefits from Kurzel’s inspired eye, the increasingly impressive talents of cinematographer Adam Arkapaw (“True Detective”) and Fiona Crombie’s period-loving production design. The world they have created for this tragedy may overwhelm, but it's certainly impossible to forget.

The result is a drama full of intriguing ideas, and one unexpectedly memorable performance, that is often more obvious than it wants to be.

The movie lives and dies, however, on Ingrid herself and, remarkably, Plaza finds a way for you to root for her even when she crosses line after line after line.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

The chemistry between Patel and Hardy is often divine, and the latter delivers such a layered and charismatic performance you’re with it till the end.

The best news is that the songs, by Galvin, Gordon, Lieberman, Platt, and Mark Sonnenblick (“Spirited,” “Lyle Lyle Crocodile”) were written beforehand. Those compositions contribute to the one-time-only musical performance that practically saves the movie. The songs and staging of the show are simply hilarious.

It’s not acknowledged enough how difficult it is to make a period piece that doesn’t feel staged or performative. Nichols genuinely captures the spirit of this particular era and keeps your attention even if you never gave a second thought to those packs of bike riders passing you on the highway.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

Despite a fantastic performance by Fares (and a stellar score from Alexandre Desplat), “Eagles” doesn’t have the emotional gut punch you’d expect. But you believe that everything Saleh depicts can or will occur, and that’s an achievement in and of itself.

Regrettably, any sympathy the film has mustered is diminished by at least three, maybe four, additional endings that are frustratingly superfluous. These never-ending epilogues add nothing to what has come before it and, in many ways, curtail any emotional heights the film has garnered to this point.

We’re not sure there will ever be another “Devil Wears Prada” installment, but be glad this one came along. At worst, to reinforce that shining memory of the original, at best to simply delight you for two hours. Hey, it might even be an improvement on that first flick.

Even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.

Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.

Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.

That bond between Hiccup and Toothless, mostly thanks to Thames’ impressive commitment, with that Powell score thrown in for good measure? Heavens, it’s simply glorious. And just like the original, you’ll want to experience it all over again.

The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands.

Boy Erased has problems depicting the fear, intimidation and psychological trauma such programs can inflict on even the most willing of participants. But that’s likely because, at its core, the film isn’t really about the gay conversion experience.

Malcolm Washington, Denzel’s youngest son, has his own secret weapons to assist him in his feature directorial debut. The first is a scintillatingly stellar performance from Danielle Deadwyler. The second is Washington’s impressive artistic vision which proves that a love of cinema truly does run in the family.

Cranston has his moments and you have to laud his attention to detain in channeling Trumbo’s unique voice and mannerisms. Unfortunately, he’s so committed that his character borders on being a caricature.

For the most part, One Life is chronicling very familiar WW II territory. It’s not difficult to prompt genuine tension from these horrific events, but Hawes’ depiction of them is simply too conservative.

While the film elegantly considers the relationship between Feña and their father in the third act, it still feels like something is missing from that aspect of the picture. Especially after Feña’s anxious build-up to his arrival.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

Outside of the Berg’s incredible depiction of the Deepwater’s destruction and the escape of a majority of its crew, the picture also benefits from two fantastic performances by Wahlberg and Rodriguez.

Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.

Despite Depp’s seemingly flawless efforts, less may have been more in conveying just how bloodthirsty Bulger was. Where “Mass” excels is with a stellar cast whose spot on performances keep your interest as the film moves along.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

The film’s saving grace, as you’d expect, is Domingo. He conveys Ruskin’s inherent natural charisma so perfectly that no one will finish watching this film and wonder how such a flamboyant man became such a powerful figure in this homophobic era. Domingo’s performance makes you believe.

Considering how much screen time they share together, Lister-Jones and Pally need to have fantastic chemistry to keep the audience rooting for Anna and Ben and, luckily, they have more than enough.

The movie wants to make a statement about the intersection of art and family, but it’s all too muddled to add up to anything that astute.

Sadly, even with the contributions of four screenwriters and the still underrated talents of Byrne...it simply doesn’t work.

Herzi’s directing skills have showcased her talented cast. Her slick aesthetic has given the tale a needed polish. But will the rest of it stay with you? For someone, somewhere, in a similar situation, if they can find a way to see it, it no doubt will.