John DeFore

Focused much more intently on video journals Gleason made as his illness progressed, the film both documents his rapid physical decline and ponders the many existential issues it raises — especially for a married couple expecting their first child in a few months.

Less a coming-of-age film than a series of crucial episodes in that process, Skate Kitchen mixes dreaminess and disillusionment as it observes the choices Camille makes and the ensuing fallout.

Benefitting from an unassuming but dead-on performance by lead Molly Windsor, the picture may frustrate those expecting a true horror film, but earns Oakley a place alongside other young women (like Amy Seimetz and Sophia Takal) currently exploring the usefulness of genre conventions in feminist storytelling.

Park's unsettling visuals and his handling of the cast make the occasional holes in Wentworth Miller's script practically irrelevant.

A mournful but clear-eyed look at one of the many governments on the planet currently either going to or simmering in Hell, Petra Costa's The Edge of Democracy is as much essay film as a primer on Brazil's recent history.

A thoroughly engaging film about an inimitable New York painter.

Finding smart ways to bring novelty to the franchise without forsaking what made the original so much fun (and in fact doubling down on some of those qualities), Barry Sonnenfeld's Men in Black 3 easily erases the second installment's vague but unpleasant memory and -- though we might hope producers will quit while they're ahead -- paves the way for future installments.

The doc's a delight for six-string gearheads and a reverie for those who still treasure what remains of pre-Bloomberg, pre-Giuliani New York.

A trove of great stills and movie footage accompanies the colorful anecdotes, but the film's most consistent pleasure is the way interviewees recall the moments before the tape rolled on an immortal recording.

Though the emotional pull of this love triangle grows more compelling in the second half, for much of its running time November prefers to beguile us with the strangeness of its setting and characters.

Sebastian Silva's latest is no retread of Jordan Peele's more-than-a-thriller breakthrough. Instead of envisioning how smiling white faces might hide evil intent, Tyrel observes how wounds can fester, doing damage long after unaffected parties would have assumed everything was fine.

A rollicking adventure through worlds both bleak and fantastic, Steven Spielberg's Ready Player One makes big changes to the specifics and structure of Ernest Cline's best-selling novel but keeps the spirit and level-up thrills intact.

An elegant meditation on one of the most distinctive bodies of work in contemporary art.

A highly enjoyable look at a career spent duping the art world.

Throughout, Shuman's eye, her editing, and Paul Brill's charming score weave the individual stories Pigeon finds into the tapestry of life on the street

Strong, entertaining portrait of a hard-to-pin-down online phenomenon.

Shari Springer Berman and Robert Pulcini's Ten Thousand Saints offers both a premise and a setting ripe for nostalgic sentimentality but indulges in little of it.

A very entertaining film, stuffed with colorful idiots and serves-you-right twists. Silly in ways that reflect poorly of the filmmaker's taste but will endear it to many viewers, it's a true-crime tale that has much to do with Major League Baseball but requires no interest in the sport to enjoy.

Funny, fascinating, and packing a surprisingly poignant twist, the doc will get plenty of free publicity and, for unsqueamish moviegoers, will live up to the hype.

Rising well above the typical making-of feature, the documentary will fascinate buffs when shown alongside the operas themselves.

Funny, bitter and sometimes bleak, the picture draws much of its appeal from a deadpan performance by star Matti Onnismaa.

Despite all appearances, Personal Problems is indeed moving toward a fairly conventional end. But along the way, it observes much of its era through the corners of its eyes.

As much as Don't Think Twice focuses on professional envy, though, it remains a love letter to this weirdo art form called improv.

This ride is much more fun when you know nothing about it going in.

First-time director Dean does an excellent job of marshalling old source material, setting the scene for an account of Lamarr's life on- and off-screen.

The comedian's latest is as dense with laughs as fans would expect, the quality of the material showing no hint of how many other projects (namely the four feature films that have opened this year and eight reportedly in post) he had going on while writing it.

It feels like a gift from one outstanding character actor to another, but never one that indulges the thesp at the expense of the film.

Before it turns intense, the film gently captures the flavor of life in a place where locals play a part in their own law enforcement and it takes a bit of walking even to get to a road and hitchhike.