Jordan Hoffman

Throughout the picture you understand the miracle and good fortune of finding love, and recognize the great changes in tolerance American society is currently (albeit slowly) undergoing.

Forbes’ film is a fine tribute to him, and a fascinating glimpse at a different, but not distant, past.

Ultimately, Experimenter finds a glimmer of hope by simply revealing itself. Maybe if more people are educated about the dangers of obedience, they’ll put up more resistance. It can’t hurt to hope.

A few small hiccups aside, 13th is very much not a Michael Moore film. It is organised, detailed and powerful.

The first half of Pacific Rim Uprising is about as fun as a trip to the dentist. The second half, however, is a dizzying and delightful foray into enjoyable pandemonium. It’s like the laughing gas really kicks in.

The film, which uses the gimmick of jumping between parallel universes to explore, essentially, how to be your best self, is awash in zany sci fi culs-du-sac, sly movie references, and a deranged high fructose attitude that scoffs at the idea of everything but the kitchen sink. The Daniels want infinite kitchen sinks.

Nothing short of fascinating.

That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.

It is one of the better dumbass sci-fi action movies to come down the pike in quite some time.

There’s nothing about this film that is uplifting, but Davies’ handling of the material is so exquisite that the overbearing melancholy becomes, in the end, a work of poetry.

This immersive, richly detailed snapshot of hoarders undergoing a mandated apartment cleaning is equal parts horror film and existential howl.

This is a film that loves its subjects and only someone with a biological revulsion to catchy pop or grand rock theatrics will dislike the film.

Knock Down The House is far more effective when it is about the people and the process, not landing quips.

Despite the desultory nature of the film, it is sure to hammer home some key points.

Julia Louis-Dreyfus, a treasure as always, basically plays it straight and is terrific.

Private Property’s vicious form of prurience may make some queasy, and is hardly the type of movie that could get made today without great backlash, but there’s definitely more going on here than mere time-capsule curiosity.

Schreiber saves it to an extent with some unusual performance choices, but when you compare this ending to the emotional supernova of Danny Boyle’s “Sunshine” it comes way short.

It is a quiet, subtle story and, as is so often the case when an actor takes their first trip behind the camera, a showcase for terrific performances.

Directors and activists Sabaah Folayan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television.

Flux Gourmet is very much a “not for everyone” type of movie, but even people unwilling or unable to connect with it must recognize that it isn’t simply weird for weirdnesses sake. Beyond the obvious theme of the artist’s eternal struggle with those who offer patronage only to start shortening the leash, there’s a frank look at just how strange it is for people to come together to make art in the first place.

I give the odd, small film Maggie all the points in the world for experimenting with genre-blending and subverting audience expectations, but there’s just too much about it that fails to connect.

It never quite elevates itself above something like a really well produced behind-the-scenes featurette on a high end Blu-ray. But if you’ve got that Jodorowsky T-shirt aping the Judas Priest logo, you may as well start lining up now.

An essentially plotless but engaging and enriching recollection of childhood steeped in warmth, grace, honesty, and crystalline specificity.

Only Lovers Left Alive is an exhibit A example of how to use style to enhance substance, not overwhelm it.

Serkis’ Caesar gets more than his fair share of rip-snortin’ badass moments. He’s arguably the finest leader of men we’ve seen on screen since “Lincoln.”

Fill the Void is, in the worst sense of the word, a “women’s picture,” in which people wring their hands and worry, wail and weep over marriage and maintaining the status quo.

Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.

While there are some okay side stories (stuff with the daughters and daughters’ friends) it kinda feels like attending a dinner party and checking in on the first world problems of a friend you kinda like, but don’t like enough to ask any follow up questions.