Randy Cordova

The characters in the film don't shed tears, but you'll be fighting them at certain points. Pain and Glory stays with you, and grows richer with reflection.

The most remarkable thing about Ira Sachs’ richly textured new film Little Men is how it manages to be about so much, and yet so little.

Once the movie is over and you realize how the filmmaker has turned the tables, you can't help but be amused — and amazed.

You'll admire it and maybe even be astonished by its twisty nature, but that very twistiness can also feel more like a filmmaker showing off rather than something that emotionally engages a viewer.

The movie’s best moments are the small ones.

The movie just hits the nail on the head: that sense that we're just going through life, trying to navigate it the best way we can in each moment. There are a lot of things to love about Truman — including the dog — but that could be one of its best and biggest attributes.

Weinstein normally directs documentaries, and Menashe has a fly-on-the-wall feel at times, particularly in the warmly believable interplay between father and son.

The film is nakedly candid, but Stritch is also a ham who is almost always aware of the camera.

Director Craig Zobel (he made the creepily effective “Compliance”) lets the story unfold in wonderfully hushed fashion.

Gleason is disturbing, brave and compelling, which is exactly what it needs to be.

The movie is fascinating when it looks at the mechanics of Big Bird, which are physically challenging.

The dialogue snaps with precision and cringe-worthy humor; at times, you feel like you're having one of those awkward moments in which you watch a couple bicker. The movie is delicately perched between low-key believability and telenovela melodramatics, yet never falls too far to one side.

The film feels overlong and a bit repetitious, but it’s obviously a complex subject that deserves a thought-out treatment.

Thanks to the nicely layered characters and a near-perfect mix of action and merriment, the movie feels wonderfully vivid and alive.

It's clear-eyed and remarkably honest, and Macdonald shows a flair for illustrating how Houston's life fits in the bigger picture

Call it a battle-of-the-sexes comedy set in a devout Orthodox community in Jerusalem. But, in its own quiet and friendly way, the film goes deeper than that, looking at how conservative religious views can clash with more moderate ways.

As a love letter to a talented and endearing soul, it's hard to fault Love, Gilda. Like its subject, it feels remarkably honest and genuine.

Everybody Loves Somebody doesn’t reinvent the rom-com, but it manages to take the formula, shake it up a bit, and come up with something that feels fresh and inventive.

For all its vivid period atmosphere and striking scenes, there is a meandering quality that keeps the film from being truly involving. It's not the lack of sentiment, but perhaps the absence of any sort of momentum.

Trapero handles the movie's pacing with a masterful ease.

Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.

Searching is a thriller with a gimmick. The entire story takes place on screens — we see the action play out on devices like laptops and phones. But the movie never feels gimmicky, which is perhaps the neatest feat achieved by first-time director Aneesh Chaganty.

As mysteries go, writer-director Aaron Katz hasn't really created an effective one. Gemini is entertaining, but Jill isn't much of a detective, and the big puzzle at the center of the film just sort of falls together. You never completely check out of the plot, but don't feel fully invested, either.

The no-holds-barred comedy generally works, largely thanks to a game cast that plunges into the raunchy material with gleeful abandon.

This is a wonderful movie.

It actually is quite funny. It is also warm and empathetic, though a viewer's reaction to the film might vary depending how they view the subject of assisted suicide.

An affectionate documentary.

It’s one part history lesson and one part ode to the rapidly fading quality of refinement. But mostly, it’s a chance to indulge in juicy celebrity stories, catnip for those who love that kind of thing.