Stephen Whitty

As much as you might want to look away from Dark River, you can’t. The direction is assured, inventive, precise. The performances are compelling. And while the writing is often a little too deliberately obscure, once it becomes clear where the story is heading, it moves forward with the force of classic tragedy.

A refreshingly offbeat noir, one that spices its murder-mystery thrills with a good bit of feminist empowerment.

Anchored by standout performances by Naomi Watts, Octavia Spencer and young Kelvin Harrison Jr., it’s a strong indie film about race, family and trust that should connect with fans of smart, provocative cinema.

Youth is fleeting. "Youth" is not. In fact, you may feel yourself getting older just watching it.

It's fun to have new version of an old Marvel favorite, and a storyline which adds some genuine mysticism to this ever-expanding franchise. But "Strange" is too often only odd when it needs to be truly magical, and Hollywood-safe when it needs to be brave.

The smartest kind of sequel, Ralph Breaks the Internet remembers what you liked about the first film. And then, not only gives you more of the same, but something different.

An artful, deeply felt documentary, Always in Season has its own, sadly necessary reasons for being.

In the end, perhaps, von Trotta’s search for Bergman never quite finds him. But did he ever quite find himself? All he knew was that he was an artist.

Compared to a really great poker game, sometimes “Molly’s” comes up a little short. It definitely keeps you too long at the table. And there are times — like every Sorkin script — where it won’t stop talking. Really, buddy, shut up and deal...But when the chips are down, its stars come through. And in the end, we all walk away winners.

It's a pleasure seeing Grant in a great part again, playing the sort of almost-cad he's best at. And Streep - who, in real life, can belt anything from Broadway to Bruce - is clearly having a ball singing badly.

A quiet, restrained drama, Louder Than Bombs works a little like a photographer itself, changing its focus, showcasing scenes from different points of view, rearranging the order of the images.

Pike is terrific, and Hamm has a credibly bleary, weary look. The movie’s ambitions are worthy. But it rarely turns its action into real excitement, or moves past cynicism into insight. It’s the spy movie that leaves us in the cold.

There is nothing safe about The Birth of a Nation.

Even if you disagree with Moore, it’s hard not to admire his bravura filmmaking.

It's not only filled with the usual special-effects eye candy, but smart, fan-focused writing.

It's an impressive achievement, and even Berg's taste for the obvious — like shots of Old Glory, still waving through the worst of it — can't overwhelm the humanity behind the drama. Real people, real danger — and real self-sacrifice.

It is sweet, and funny and quietly upbeat. Take a chance on it — and take your mom.

Popstar: Never Stop Never Stopping is a seriously ridiculous put-on. And in this summer of overheated special-effects movies, it’s a cool blast of fresh air.

The script is surprisingly smart, pulling together all the subplots and cutting among all the locations. Chris Pratt’s Star Lord has some clever lines. Thanos is a far more complex villain than we usually get. And the movie ends on a stark and shocking note.

It sounds a little too clever, but it's not. It's just clever enough.

Sequels are tricky things, and decades-late followups are the trickiest. T2 Trainspotting almost pulls it off, too, bringing back the original’s hallucinatory style, jolting musical choices and charismatic cast.

The Family Fang has a nasty little bite to it — and thank heavens for that.

It’s a raunchy, rollicking story of movie legends off the set and between the sheets.

Jordan really commits, and his scenes with Thompson have genuine warmth and intimacy.

The details of how the McDonalds literally invented the fast-food concept are fascinating. The period details feel right. All in all, the film's a slick, good-looking package. But it still feels empty. Where's the message? Where's the meaning? Where's the beef?

A lot of the jokes are surprising, and one gag...pays off terrifically. The two top stars are delightful, and a couple of cameos are nice surprises.

It’s a movie made with an insider’s knowledge (directors Ben and Orson Cummings are both proud graduates of the school) and affection (Shaquille O’Neal is one of the producers, as is art-world titan Larry Gagosian). And yet, while it has heartwarming moments, it’s not a predictable, eager-to-please entertainment.

although it’s far too fannish—this is not a movie that wants to dig deep into anything uncomfortable—it does give the rocker her props, while reminding fans of some modern rock history.