Pat Padua

Dyrholm, who deservedly took the prize for best actress at last year’s Berlinale for her sensitive performance as Anna, movingly captures the struggles of a middle-aged career woman who revels in the new freedoms of the 1970s, while ultimately falling victim to them.

Although the central match in Chuck is effective, and hits all the right beats, unlike the best of the “Rocky” movies, the drama outside the ring is less potent than drama inside. This, despite strong performances by Schreiber and — especially — Moss, a grounding presence who summons a toughness not usually seen in her work.

In Chasing Trane: The John Coltrane Documentary, documentarian John Scheinfeld shows that the music of one of jazz’s most experimental saxophone players still speaks to audiences today.

Unforgettable borrows elements from film noir, Lifetime movies and slasher flicks and updates them for the Internet age. But this forgettable thriller will simply make you remember other, better films.

Anyone much taller than a Smurf may turn blue long before its 81 minutes are over.

The documentary I Called Him Morgan, which charts his brief life and career, offers classic tunes and a vivid history of the New York jazz scene, while never quite managing to sell the drama inherent to its tale.

The Boss Baby (adapted from the 2010 book by author and illustrator Marla Frazee) is a sweet adventure tale about sibling rivalry that ultimately becomes a moving tribute to family and brotherhood.

You don’t need to be familiar with Assayas’s previous work to enjoy Personal Shopper. It works in two realms: as an engrossing ghost story and a drama that addresses profound matters of life and death.

I Am Michael, is an intermittently affecting — but not entirely convincing — conversion story.

Overall, “Shoot First” is a breezy look at a professional whose work remains endearing, despite some highfalutin claims.

This taut political thriller, set amid the soulless office architecture of K Street, has an ostensibly liberal bent, but its antiheroine’s Machiavellian methods turn the film’s subject away from its cause, portraying lobbyists and politicians in a dark light.

As with giallo, The Love Witch features deliberately wooden acting, and can be a little boring at times. But it’s a stunningly photographed, fascinating reinterpretation of classic melodrama.

You don’t have to understand the lyrics — or even like the music — to find We Are X entertaining, even, at times, moving.

What Now? is at its best when it focuses on his comic presence. Even if his jokes don’t all land, his train of thought is all you need for an entertaining performance that is funny, angry and sometimes just weird.

“Lovers” suggests that any film — even this one — can have the manipulative power of propaganda.

London Road comes across as no more than tabloid karaoke.

Max Rose seems to come from someplace personal, but its pain feels dialed down a notch to make it easier to digest. Still, the movie gains resonance from its look at what may be the final years of a movie legend.

White Girl vividly charts what is at times a violent culture clash. But it is the young lovers’ desperate attempt to bridge the gap between their worlds that makes the film so deeply moving.

Unfortunately, this film’s dark premise is drowned in whimsy and a forced childlike wonder.

Despite the violence, the real horror of Don’t Breathe may be the sense of futility that all its characters feel, whether they can see or not.

Ghost Team should have spent more time with its big-hearted living characters instead of chasing after dead ones.

Gleason portrays great strength and great suffering in equal measure, lending vivid credence to tired platitudes about what it means to live life to the fullest.

At times, the film seems pat in its portrayal of modern Judaism struggling to maintain tradition in a changing world. Tonal shifts are problematic, with a maudlin score that evokes television melodrama giving way to quirky, sped-up sequences that treat family drama as light hijinks.

Through the example of friendship and cooperation, The Innocents shines a glimmer of hope on a period of great doubt.

The Witness makes an encouraging case for the argument that society is not as apathetic as we fear. But it also reveals a troubling phenomenon: our willingness to accept all that we are told as truth.

The film’s most profound subject matter may simply be the passage of time.

The documentary Hockney presents such an immersive portrait of its subject — artist David Hockney — that by the end of the film it feels like we are looking at the world through his eyes.

Manhattan Night gets by on the strength of its visuals and a few vivid central performances, but by the time we find out whodunit, it doesn’t really matter.

Pali Road toys with some interesting questions about the line between romantic love and fantasy. In the end, however, it’s no more than a mildly scenic ride.

There are more than 6 million potential love stories in Rio de Janeiro. Unfortunately, none of the 10 that have been assembled in the anthology film Rio, I Love You is any good.