Gregory Ellwood

The initial inspiration was clearly there, but the execution simply falls short.

In a vacuum, Langley’s true story is quite remarkable, but sadly, the elements don’t truly come together in this somewhat by-the-numbers film.

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.

At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

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.

The film feels 30 minutes longer than its 109 minute run time mostly due to the fact that “Paper” seems distinctly like three different films.

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.

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.

The Program works when it has you questioning how on earth this secret could be kept so quiet for so long when so many people knew exactly what was going on.

Alfre Woodard may have graced us with the performance of her career.

Foster is so good you’re often rooting for Stoll to succeed more than Nyad. And sometimes a performance like that is all you need for a feel-good story like this one.

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.

As a piece of filmed entertainment Snowden is certainly a watchable endeavor, but Stone and screenwriter Kieran Fitzgerald’s script is often an odd mix of hero worship, conspiratorial thriller and cringe worthy dialogue.

There’s a line for an audience between conveying the true horror of what occurred and being excessive and Maras barely avoids the latter.

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

Unfortunately, Cailley’s conventional cinematic aesthetic is also often akin to a contemporary streaming movie (the first thirty minutes or seem like a television pilot) and while the visual effects are solid, there are few images that will stick with you hours after you’ve left the theater. What saves “The Animal Kingdom” is the genuine horror over this happening to anyone (Cailley gets that right, at least) and Kircher’s fantastic performance.

After co-writing and producing Romain Graves’ own epic of civil unrest, 2022’s “Athena,” he steps behind the camera once more for his second feature directorial effort, “Les Indésirables,” and while the subject matter is just as timely, the overall result is slightly less scintillating.

As Coppola teases Jacobs’ brilliance over the decades, you realize he may not have gotten his due as one of the most influential designers of the past 50 years. He may have been taken for granted both inside the insular fashion world and by the public at large. And, at worst, you just hope sometime soon, another filmmaker tackles an extended film or docu-series about him and really gives him his due.

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.

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.