Gregory Ellwood

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.