Sheri Linden

As a portrait of children who are wanted and loved, it's intimate and often delightful.

The knack for biting dialogue that Mills brought to Guidance is still evident, although his new effort can’t match the bracing sting of his wickedly funny debut.

Taking satiric aim at a familiar target, conformity, Australian playwright Tony McNamara's film debut is by turns incisive and broad.

One of his most piercing inquiries yet. ... Herzog is the clear-eyed student — at times amazed and delighted, and, at others, skeptical and alarmed. Amid the cryostats and nanoparticles and fiber optics, the clunky gadgets and impenetrable-to-the-layperson diagrams, he summons a wry and lyrical mix of awe and foreboding.

There's enough dark sizzle between leads Rachel Weisz and Sam Claflin to keep the audience involved through the underpowered middle stretches before the film regains its footing, delivering a disquieting shiver of a conclusion.

Hall and Brown are a glorious kick to watch, their physicality at times bordering on slapstick.

A delightfully unforced comedy with a sure grasp of character and setting.

Francisca Gavilán's lead performance burns with a dark radiance that's anything but self-congratulatory.

The drama works only in fits and starts. The vague danger that shapes it, and the narrative's underlying emotional intricacies, are too often explained rather than felt.

Wavers between would-be satire and romantic drama, inhabiting neither mode convincingly.

The film flirts with upper-class stereotypes, but in the nuanced writing and the work of the strong cast, led by a terrific Valeria Bruni Tedeschi, it goes far deeper.

A story that might have been alive with messy complexity is instead genial and polite.

Rampling, a Modigliani of long-limbed litheness with a face built for sorrow, inhabits the role and the visual compositions so deeply that the character resonates long after the film has ended.

There will be blood, yes, but mainly there’s a well-written and beautifully performed investigation of yearning and the mysterious realm that apps and algorithms can only profess to quantify.

Keener's performance riveting.

Offers solid, kid-friendly storytelling.

The romance at the movie’s core doesn’t deliver the intended emotional impact, but there’s a tender, potent resonance to other aspects of the story.

The collision of adolescent hormones and parental folly, hardly new cinematic territory, gets a bracing absurdist slant in Youth in Revolt.

The huge political and social divide is in full evidence, but the strength of the doc is that it shows that those sides aren't as monolithic as the red and blue blocks on electoral maps suggest.

Loveling wisely avoids easy answers, and its deft mix of humor and melancholy never falters.

We know the achievements and victories of the era Nagy depicts, and yet, because she and her fine cast bring the story to such vivid, immediate life, the final moments of Call Jane are powerful with unanticipated joy.

Ben Hania lights a connective fuse between documentary and drama.

There are big questions churning beneath the story, yet even Hildy’s personal turmoil feels somehow too neat. In the film’s sharp comic observations, though, and especially its two fine leads, something real and messy sparks to life.

Solid family fare. Like its source material, the Missouri-shot Saving Shiloh is down-home country without condescending to hicks from the sticks.

Though the film, which lapses at times into repetitiousness, could have been trimmer and sleeker, even non-aficionados will be swept up by its dynamic look at the creative process.

A fascinating glimpse of kids' role in the evangelical movement's political agenda.

Dunne creates a full-blooded character. The film around him, unfortunately, takes low-key to the realm of tepid.

Delivering visual drama and understated character study, sometimes in disappointingly formulaic fashion, the feature has its incisive moments but falls short as both epic and intimate portrait.