Katie Walsh

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.