Katie Walsh

While McAvoy is known for his dramatic roles, and as the young Charles Xavier in the "X-Men" franchise, he's delightful when let off the leash and allowed to show off his loud, campy, unhinged side.

Thavat’s harrowing, moving film doesn’t necessarily offer justice for Bunny, but instead regards the small pieces of justice that Bunny, as misguided as she may be, ekes out for herself and her loved ones within a system that is trying to keep her down.

Christina Hodson’s script is a madcap, irreverent roller coaster ride, the story relayed in a loopy, looping, nonlinear fashion through Harley’s hyperactive storytelling style.

The torment that Maud is put through is devastating, but Suffragette, as a film, often robs itself of its own emotional power.

Jane is a genius, but she's deeply flawed and complicated, struggling with substance abuse, mental illness, her own past regrets. That dark underbelly adds depth and dimension to the ironic humor of Our Brand is Crisis.

Porter’s film is a warm biography and depiction of Lewis’ life, but there are moments where one wishes it had a bit more bite.

Finn brings bigger, and even more effective, jump scares than the last time, which will keep the popcorn flying. The sound design booms and rattles, the delusions are even more elaborate, and the body horror is even bloodier and more disturbing.

Apatow's greatest strength as a filmmaker is an eye for charismatic performers who are just fun to be around, and The King of Staten Island is a testament to that. In Davidson, Apatow has a uniquely compelling young comedian.

It's a thrill to watch it unfold, but the slick filmmaking combined with familiar tropes precludes most spontaneity.

Upgrade is a brutish, efficient and well-executed slice of cyberpunk action horror with a silly streak.

The film swerves from sci-fi to horror to psychological thriller to melodrama, but in a way, it works. It’s clear Abramenko wants to serve a full-course meal of a movie, and in stretching the dynamic range of emotion he hits on moments that are at times operatic and at others somewhat soapy. But in doing so, brings a new layer of story that makes Sputnik feel epic.

Highest 2 Lowest has its highs and lows, and when the highs are high, it soars. Those pesky lows are certainly hard to shake though.

To consider the long-standing Bourj al Barajneh is to consider the true humanity of refugees, who have hopes, dreams, lives to live and work to do. “Soufra” efficiently and effectively illustrates those ideas.

It is significant that in this vision of revisionist revenge, the ones who prevail against the Nazis are those who would be marginalized and targeted by them — along with their allies. For all its bloody cacophony, Overlord doesn't lose sight of its heroes.

In many ways, it feels like the midcentury pulp thrillers it emulates: well-plotted and grisly, but almost ephemeral. It is Lane’s performance that lingers, one that dares to be uniquely hopeful about the future, and letting the old ways die.

"Wereskunk” only wavers when it slips from the style of the era, with the usage of digital special effects or the odd modern reference. When it stays in the unique lane it’s established for itself, it’s plenty of silly retro fun.

While the pace of “Sadie” meanders and is often a bit pokey, the excellent cast, including Danielle Brooks as Carla, the local bartender and Rae’s best friend, brings your attention fully to the dramatic goings-on in this tiny community.

Cinematically, there isn't much of a breakthrough, or breaking of a mold, when it comes to how these stories are told. But what distinguishes the film is the daring depiction of a complex, flawed, fierce and faithful woman.

This treatise on what to expect when you're not expecting offers up biting cultural satire with a hearty dose of humanity and humor to boot.

Chopra and Akhtar have great chemistry, and though the nonlinear storytelling is somewhat unnecessary, Bose deftly manages the challenging tonal shifts within this lengthy film that never drags.

Paddington in Peru is still incredibly touching in its story of acceptance from both found family and birth family. It’s still silly and amusing with a childlike innocence and purity of heart that appeals to both kids and adults. It still pays homage to film history in a way that will delight cinephiles. But having seen the heights of “Paddington 2,” this third installment could only pale in comparison.

Sand Dollars has an assured, light touch.

What emerges is a portrait of doctors and staff who work hard to do the right thing for their patients and the babies, who have no voice. It is life, fought for and forged in the most difficult of circumstances.

Keshavarz spins a lot of plates in The Persian Version and we can see the effort, but she keeps them all in the air.

It's a cute movie with genuinely funny moments (keep an eye out for the koala car wash), and some great tunes to boot.

These filmmakers clearly have a knack for capturing nautical adventure and the delusional yet undeniably human desire to conquer the seas.

Anchored by a quartet of fierce performances, “Donnybrook” is an intense, visceral tone poem, a rumination on money and drugs and bloodshed as a means of making ends meet in the heartland of modern America.

Wheatley’s film works on a purely elemental level; like nature itself, the film is a sensory event, the narrative often subsumed by the aural and visual experience.

The greatest strength of Office Christmas Party is its casting. If you’ve got fabulous weirdos Kate McKinnon and T.J. Miller in lead roles, there are bound to be more than enough laughs.

Unleashed, written and directed by Finn Taylor, works because of the collective commitment to the magical realism on-screen.

The lack of a strong narrative through-line makes for a film that is informative but dry. Nevertheless, it is an urgent plea for us all to make conscious choices in our consumption.

The script has a certain memoiristic quality that would edge into self-indulgence if McGhee and Stonebraker weren’t such warm and disarming presences on screen.

The film flies but never lets any emotional weight fully land.

Leyser’s film is an important document capturing the influence of queercore, an underground movement that enjoys life on the fringes, where identifying as an anti-establishment “arty weirdo” is just as important as sexuality.

There’s enough verve in the concept and performances — and in debuting feature-maker Williams’ exuberant direction — to carry Lisa Frankenstein through.

There are times when this visual twist confuses rather than elucidates. However, there’s no denying the bracing, honest nature of Mouthpiece, a truly revolutionary piece of filmmaking.

It inspires deep respect for the fierce and independent artist she is, a person whose voice is necessary, now more than ever.

Behrman has crafted a classic high school tale of outsiders finding themselves while looking in, bullied and beaten for daring to “experiment,” to be different. The images are sumptuously saturated and gorgeously crafted, and the soundtrack thrums and whines with anxiety and racing pulse.

It’s an artful, boundary-pushing debut from Radcliff and Wolkstein, with breakthrough performances from Freedson-Jackson, and Pettyfer, perhaps signaling a new direction in his career.

What always rings loud and clear and true is the formidable Adams. When given a red-meat role of physicality and nuance — animalized, her eyes swinging between adoration and primitive fire — she can handle whatever Nightbitch needs to be at any given moment: light and funny, dark and stormy, feral and furious, and all combinations therein.

There’s a hushed profundity, especially in Binoche and Fiennes’ performances, expressing the kind of unspeakable grief and trauma one brings home from the battlefield, and what those who remain home suffer in absence.

While A Nightmare in Las Vegas is sometimes rough around the edges, it's intensely compelling and isn't afraid to demand answers to questions that seem to have gone unasked. In many ways, it's a first step in processing the enormity of this event.

Tonally, M.F.A is sometimes jarring, as these outrageous, fantastical killings are motivated by authentic, grounded emotions. But at the center, Eastwood is absolutely riveting, inhabiting a true violent vigilante worth rooting for.

This visual and aural feast does have a stumble or two on the dance floor, though in the 11th hour, Wright manages to right the ship, with an assist from the ever-reliable Taylor-Joy.

Writer-director Dalio has firsthand experience with bipolar disorder, and his perspective sheds fresh light on the unique ways in which manic-depressive individuals experience love and creativity.

Stone had the right instincts about the part — she inhabits Senna beautifully, and her performance anchors the light-as-air All I Wish. It's the perfect role for her to sink her teeth into, sexy and fun, but she brings a sense of real intelligence and soulfulness to the character. That's true star power.

Oyelowo and Mara's riveting, embodied performances rise above the material.

Director Natalia Leite brings an emotional intelligence and sensitivity to Bare that raises it above its smutty late-night cable premise of a small-town girl falling into a lesbian affair and exploring the world of stripping.

Though the first half of the film is far more interesting than the overwrought melodrama that it becomes, Sky remains a deeply compelling and optimistic valentine to the possibilities of the West.

Stylistic choices could have undermined the film, but the story and revelations are so shocking and powerfully absorbing that The Skyjacker’s Tale rises above.

The events of Woodstock have been told, so it’s refreshing that this documentary draws out the details one might not have heard before — the food donations from the town, the volunteer Army doctors, the attendees who stayed to pick up trash.

The premise of My Happy Ending is somewhat slight, but there’s nothing insubstantial about a woman coming to a profound realization about her life thanks to a surprising encounter with unexpected new allies.

Among all the loquacious chaos, Nat steals the film with the quieter performance as the pained, soulful and deeply feeling Jack.

The film can feel like an infomercial for the foundation, but that doesn't stop the power of the stories from coming through.

This odd friendship dramedy has its winning moments, thanks to a fine cast, including Eric Roberts and Marguerite Moreau, and a bold visual design that underlines the quirky and fantastical tone.

Shoplifters of the World, in fact, belongs to Cleo, not just because Howard is such a dizzyingly charismatic actress but because her story, which unfolds parallel to Dean’s, is a heartfelt coming-of-age drama that perfectly embodies the youthful angst, ennui and romantic longing expressed so well in the music of the Smiths.

The singular aesthetic is gritty, beautiful and expressive, and somehow, you want to root for the love story of Eli and Anya, thanks to the charismatic performances of Nicholson and Lopez.

Sharrock’s directing is unshowy, focused on the characters and performance moments that make this film a simple, yet effectively moving story about dreaming of a life beyond the walls, something we can all appreciate at this particular moment.

It's satisfying, charming and surprising — a film that keeps its supernatural elements grounded in reality, with the focus on the spirituality of true love.

Though the narrative often lags or stops outright to revel in Nourry’s art, when the film dives into her struggles with identity in relationship to cancer through art, it’s fascinating, and very emotional.

Despite the melodrama, the connections these women forge are heartfelt and earned.

The twists and turns of this stylish and well-acted if minor thriller bring Sonny to unexpected yet apt conclusions.

It’s not an intimate portrait of the woman, but a celebration of the sex-positive, taboo-breaking image she created for herself and the way she rocked American culture during a hugely transitional moment.

Longinotto’s film is a rollicking depiction of the wonderfully self-possessed Battaglia.

Although every cinematic experiment and story beat doesn’t always work, Hot Summer Nights is downright intoxicating, oozing with panache and sensuality from every pore.

A detailed and affable exploration of this world, This One’s for the Ladies is so unabashedly sex-positive you just might want to find the closest all-male revue.