Robert Daniels

Daniels, an actor skilled at delivering hushed poignancy, shares a sincere rapport with Catlett, who furthers the film’s organic tenor with weary eyes that plead for one’s time and grace. His and Daniels’s steady work makes Color Book deserving of both.

I couldn’t help but be moved by the animated picture’s digestible message, which resonates not only with parents and children alike but also with those worried about a social media culture that values creating an impossible standard by prioritizing image over being yourself. We’re losing something uniquely human between tabs, under signal strength, and over social content. “Toy Story 5” hopes to claw us back to reality.

The Furious is a rousing piece of spectacle.

Herzi takes great interest in the moments when Fatima’s mask slips slightly, allowing these instances to reach for something so real that it delivers a palpable fright to her protagonist’s core.

Okonedo and Oyelowo give affecting performances as star-crossed lovers who can’t quite own up to their mistakes . . . Together they give Clarissa a touching guardedness that might not offer the spit and fire of Woolf’s Mrs. Dalloway, but certainly understands the permanent heartache and the poeticism of a life deferred.

It’s bold, provocative, and assured filmmaking that oscillates between moments of breathtaking cinematic prowess and satirical characterizations, whose coy rendering turns a mirror toward those who unconsciously lap up hollow action heroes when the far more intriguing story exists in plain sight.

Blue Film, through its many frank observations, stands as a vulnerable work about one’s past colliding with one’s present, in a bid to make peace with one’s true self.

An empty muddle of social commentary with little intensity.

When combined, the diametric halves form a charming diptych whose thematic and emotional profundity make for Miyake’s most accomplished work yet.

Most of the best portions of “Ricky” are hard-earned enough to look past moments of inconsistent tone and approach. Because when this character study hits, it can often feel divine.

Antoine Fuqua might’ve had some cameras and microphones on hand to produce moving images and sound for this estate-approved King of Pop biopic. But make no mistake about it: “Michael” isn’t a movie. It’s a filmed playlist in search of a story.

Told in 71 minutes, the breezy melodrama moves through reality and happenstance with a winking glee that recalls the gentle works of Bill Forsyth—albeit with less thematic heft.

Alice Winocour’s captivating fashion drama Couture is a quiet, observational picture about creative women finding solace in one another.

Leaning toward unrelenting shock, “Newborn” as a whole becomes something worse in the process: dishonest.

[Borgli's] mealy-mouthed timidity in addressing genuinely controversial and provocative subjects, especially those that require a radical kind of empathy, not only renders his supposedly edgy provocations dull. It also makes one wonder if he’s at all interested in women as people.

Visually evocative and uniquely conceived, Cristian Carretero and Lorraine Jones’s “Esta Isla” (“This Island”) is a lovers-on-the-run narrative unafraid to pause for emotional and thematic effect.

BenDavid Grabinski’s time-twisty, sci-fi gangster comedy Mike & Nick & Nick & Alice is brimming with hair-brained schemes and hilarious gags; the kind of unruly one night adventure that isn’t about logic, it’s about stoking delirium.

The film’s simple premise is supported by smart plotting, nimble editing and evocative sound, and lands with frightening force. An engagingly frigid performance by Scott furthers the film’s keen ability to conjure overwhelming anxiety from its many punchy jump scares, combining to make Hokum an exceptionally chilling horror film.

Ready or Not 2: Here I Come delivers short-term thrills in an emotionally hollow gore fest.

While “The Gates” itself isn’t a total smash, it’s a more than sturdy final effort from a beloved actor.

Though its many narrative twists and amusing turns might wear down less adventurous viewers, this film will be embraced by those who enjoyed the director’s dystopian critique Sorry to Bother You and his equally scathing series I’m a Virgo.

The harder the film tries, the more one feels pulled along rather than effortlessly transported.

Such blunt messaging reduces the onscreen carnage, which relentlessly occurs via this mute machine’s searing lasers, barrage of bombs and kaiju breath, to little more than the human toll required for this particular military man to feel again. Worse yet, the film concludes with hawkish intensity, fashioning itself into a tasteless recruitment video.

The film’s sci-fi tone holds best, not when the McManus brothers try to explain the technological components, but when these characters’ find solace in their shared trauma.

There is a good movie lurking within writer/director Cinqué Lee’s survivalist coming-of-age thriller “Last Ride.” It’s just suspended between two half-told stories.

This is an enchanting film. At every moment, one feels spellbound by its earnest aims and its heartwarming excursions.

It’s very easy to dismiss a film about a hapless loser. But it’s nearly as difficult to ignore a performance like the one Rios gives.

A high-strung, faith-based hood drama, Moses the Black has admirable intentions but lacks precision.