Kevin Crust

Trade works fairly well as a thriller ticking down to Adriana's auction. It's less assured when it strains for some buddy picture chemistry between Ramos and Kline. Though both actors are fine, with Ramos' performance being reminiscent of some of Diego Luna's English-language roles, the attempts at humor to ease the tension between Jorge and Ray and some of the speechifying are out of tune with the rest of the film.

Only 22 when he began shooting the film, Greenebaum displays a prodigious understanding of the treatment of the elderly in contemporary America.

If the film offers any lesson, it is that nirvana is not easily attainable, so there really are no shortcuts.

Through sensitive, in-depth profiles of four workers, Weisberg drives home the point that hard-working men and women with full-time jobs find themselves and their families trapped in a seemingly endless cycle of poverty.

The long line of recent muckraking documentaries that has preceded Why We Fight does nothing to diminish its force.

Anker evocatively captures the joys (and sometime frustrations) experienced by high-level artists working within an institution. The ardor they bring to their music is both enviable and inspiring.

A sleek, effective entertainment that is a refreshing respite from the slick emptiness of recent American crime dramas.

It's one of the charms of Air Guitar Nation that much of it plays like a mockumentary in which you're not quite sure who's pulling your leg. But it's real, even if the guitars are not.

Archetypal characters and somewhat formulaic plot notwithstanding, Diggers has the conviction to avoid tying things up with a bow and allows us the privilege to imagine where its denizens will go afterward.

The documentary “After Parkland,” released in 2019, takes a more intimate approach to the lives lost. Parkland Rising, on the other hand, focuses on the activism and the political impact it had, an impassioned record of incremental change in an age of uncertainty. The fight continues.

In the final act, the film embraces some of those larger points, and Herzog ends with a striking final image leaving us to contemplate the transactional nature and true cost of all human relationships.

The highly partisan Game Over ably illustrates the often-silly psychological gamesmanship that accompanies world-class chess and nearly catalogs enough circumstantial evidence against IBM to convict.

Slither is a gross, disgusting, but undeniably amusing treat laden with homages and in-jokes.

If Dick Wolf is interested in doing a "Law & Order: Cyber Crimes," he could do worse than to follow the lead of Untraceable, a diverting police procedural about an FBI unit tasked with sleuthing the Internet for mouse-wielding bad guys.

Writer-director Kevin Noland effectively utilizes his fine young cast and the natural beauty and rich culture of northern Spain in amiably posing a timeless question of youth.

An impassioned plea for change, the film balances bleak, Dickensian conditions with details of a growing number of international programs designed to combat the epidemic.

The themes are all familiar and the plot unfolds slowly and in predictable ways, but there's plenty of heat generated by the three leads.

Stone doesn’t explicitly ask the straightforward, big-picture questions you’ll find in a film like “Arrival.” But his attention to detail and character, and his ability to render those people in recognizable settings, is engrossing.

We've seen the inner lives of hit men and mobsters rendered innumerably in recent years on film and television, but You Kill Me does it in a satisfyingly comedic way, loaded with easily identifiable idiosyncrasies.

Zodiac is primarily a complex character study, despite the film's grim and gruesome subject matter. It's a role reversal of sorts for a director who normally emphasizes the brutal tension in his movies.

By concentrating on the early projects, we get a richer sense of the development of Nichols the artist in his own words and illustrated with photos and extended clips of performances.

The main strength of "Shakespeare" is its ability to show the vulnerability of its subjects, neither judging nor smothering them with undeserved praise.

Davaa has made a sweetly meditative film.

Although the message of the film sounds bleak, it is actually quite rousing.

A clever, delightfully rendered summer diversion.

The Wolf of Snow Hollow is a pleasingly quirky outing that has fun with the mythologies of both monsters and men.

The uproarious laughter that floats from the cinema wonderfully illustrates the universality of the moviegoing experience.

A bit slick, especially in its last half hour, Restoring Tomorrow nevertheless hits its emotional marks in reporting the renaissance of an important community institution, and Wolf’s personal connection to the subject elevates what may have simply been a well-made promotional film.