Gregory Ellwood

Demange, who earned glowing reviews for his debut “’71,” tries to guide all these plotlines and characters with a steady hand, but it often feels too unwieldy. There are simply too many storylines and threads competing with each other. The result is a movie that it feels like snippets of a life instead of a portrait of one.

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

Israel, as noted by her own writing, had a caustic wit that works with McCarthy’s comedic talents. She also brings a depth of emotion to Israel that comes to a head in a wonderfully composed scene with Grant at the end of the film.

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.

When Kusuma, Kidman and Destroyer finally kick it into high gear it’s so, so worth the wait.

Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.

While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

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.

Despite youngster Aksoy-Etaix’s commendable performance, not only will you not believe, you also won’t care.

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.

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

Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

Gilroy has fashioned a character study that has moments that are incredibly well written.... What’s extremely disappointing is that the screenplay’s through line is simply not that interesting.

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

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

What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.

“Five Foot Two” is mostly about a woman pushing forward with her career in pain, and we’re talking chronic literal pain.

There are two things that make this movie stand apart: Metcalf and Gerwig.

The worst aspect of ‘Rebel’ is that Strong seems to have no vision as a filmmaker. The movie thinks it’s throwing in some wise words about the art of writing, but they are superficial at best.

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.

How many times have you read that it’s really hard to duplicate the success of the first film in a sequel? Probably more than you can remember. Well, here’s a newsflash: Guardians of the Galaxy, Vol. 2 pulls that feat off with only a little strain and a belly of genuine emotion.

It goes without saying that Cranston has a lot to carry on his shoulders and he does an admirable job. It’s hard not to laugh every so often at one of Wakefield’s snide remarks and that’s effectively because of how Cranston sells it. But even this accomplished actor can’t make you feel any sympathy for a character whose actions defy convention in the most unimaginative ways.

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.

At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.

While you know where “God’s Own” is going most of the way Lee finds a way to breathe new life into it (to a point).

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