John Fink

Night School is a triumphant and affecting film that explores the issue of inequality beyond the usual political, paternal talking points.

A throwback to a kinder, gentler comic sensibility combining the surreal, the whimsical and vaudeville, Lost in Paris successfully delights as two misfits continue to find themselves beholden to the kind of destiny that only graces visitors to the city of lights.

Knappenberger crafts a compelling and infuriating tale of big money flouting freedom of speech in an era where freedom of speech (thanks in part to social media) has become more democratized and, perhaps, more dangerous than ever.

This is a dull, illogical, yet sincere and well-meaning drama.

Video journaling is nothing new and sadly Flames, though not without ambition, offers no improvement on the genre.

Fast-paced, informative and engaging, Blurred Lines: Inside The Art World takes the kind of material that’s fodder for an episode of the Slate Money podcast and fleshes out its points through multiple authorities showing how the sausage is made.

The film is restrained — this is not a reality TV hit job — but the problem is that it glosses over many interesting parts of Anderson’s life while he goes on a type of soul-searching tour. It is as if the film was not part of the soul-searching, but more or less an ancillary annoyance for him.

Despite the intimate, conversational style, A Private Portrait feels a bit cold and calculated, with a focus on celebrity versus art.

The film celebrates warriors of all species, providing a subtle pro-military message that’s free from the rousing pomp one comes to expect from the genre.

In the most disappointing miscalculation, Schumer and Hawn seem to be lacking chemistry together in a relationship that walks familiar ground without really offering any kind of subversive take on the material.

Led by a powerful and quietly resilient performance by Linda, Afterimage may not contain everything Wajda has said or wish to have said, however it is a moving tribute to a career marred by personal and national trauma, and one of the year’s best pictures.

While Paint It Black isn’t quite as bold and as brilliant as its influences, it is none the less captivating, anchored by two stellar performances and sincere drama that offers a few unexpected twists along the way.

McDonnell and Golden’s Elián is a sweeping, definitive look at the saga, engaging and entertaining even if it contradicts what it sets out to do.

Take Me proves to be a tonal mess with weak comic timing.

Virtually free from quirk and black humor, the film is an effective, nasty thriller and a rare horror film that provides an emotional investment because the portrait of teenhood is utterly authentic.

Dabka is a visceral, engaging, fast-paced journalism drama with authenticity and a few rough edges.

Far from a didactic faith-based picture pandering to church groups, Abundant Acreage Available is a simple, yet evocative character study with no easy answer, and it has stayed with me longer than most pictures.

Below Her Mouth is sexy and captivating, telling a familiar story with a fresh sexual frankness.

Beat by beat, The Ticket offers one predictable, obvious revelation after another right down to its conclusion.

The Boss Baby is a run-of-the-mill offering from DreamWorks who have prioritized frantic action and one-liners over the rich complexity of its competition.

The film itself seems to have blossomed organically while unfortunately never quite finding its motivation.

Shepard’s screenplay only feels a few drafts away from something that might have worked.

Far from dry, Braun’s film takes both a macro and micro approach from the personalities gambling on Herbalife’s stock, some with informed research — Ackman enlists a team of researchers, some of whom appear herein — to the grassroots, which he may or may not be supporting.

Uncertain is somber and effective work of mood and tone — a study of time and place, biography and geography that offers a slice of life that’s perhaps cut a little too thin.

Beat by beat, though, Lauler (played by the stellar Shirley MacLaine) “evolves” in Mark Pellington’s predictable dramedy The Last Word. Cinematic comfort food comes to mind, and rest assured, mom and grandma will probably have a nice time.

In Loco Parentis is a warm work of cinéma vérité.

I admire the film’s ability to commit to a rather simple idea, but that idea seems to lack the gravity and impact it ought to.

Step is a universal story of triumph.