Tricia Olszewski

Reset becomes incrementally less interesting as the performance pulls together; although it’s a visual feast to watch dancers in slow-motion executing seemingly impossible moves, the directors can only go to that well so many times before it gets a bit dull.

Ultimately, though, All We Had is exactly the kind of movie of which people say, “Oh well, its heart is in the right place.” A clichéd comment on a clichéd film: what could be more apt?

Despite its missteps, Coming Through the Rye is a sweet and inviting road trip.

Newtown, even coming nearly four years after the shooting, remains devastatingly timely.

This documentary may indeed stir outrage and encourage victims to report such crimes. But it’s still a song we’ve heard before.

Whereas Meera Menon’s film portrays the pitfalls that often await women who work in a predominantly male business, it’s also overcharged with so much grrrl power that it could blackout an entire Wall Street block.

The film’s two-plus-hour running time is a patience-tester.

To be fair, the unraveling of “Careful” is not the fault of the stars.

Kriegman and Steinberg’s incredible access allows you to ride the whole roller coaster.

It’s inarguable that some fans, somewhere, will relish every detail.

The bulk of these stories just aren’t very engaging — or even good.

Hiddleston, who does his own singing, doesn’t get to show off his chops very often. But when he does, the film comes alive, particularly when Williams finally makes it to the Opry.

Hawke is terrific as the jazz legend, so soft-spoken that he sometimes appears a little frightened of the people around him.

All the performances are terrific and lend the film a vérité so keen it may leave you as uncomfortable as the titular outcast.

The film offers one or two surprises. And when its humor lands, Rauch ensures that it sticks.

Mirren, as ever, is both polite and brusque, her petite va-va-voomness never undermining her credibility as a tough military top-ranker. And Rickman — oh, that dryly sarcastic voice.

Ergüven and her similarly green cast prove to be preternatural talents in delivering a story that’s simultaneously alarming and loads of tart-tongued fun.

Abbott (“A Most Violent Year,” HBO’s “Girls”) is a revelation, creating a multidimensional character whose battling, sometimes uncontrollable emotions are clear in his warm and expressive eyes.

Silva does manage to introduce discomfort slowly, but the manner in which things go very, very wrong is dealt with superficially.