Walter Addiego

Cunningham's work is about seeing and teaching us how to see, and that should be plenty for us.

This is the heart-rending true story of a man with a seemingly benign preoccupation that turned into something close to madness and brought him to a terrible end.

Mesmerizing documentary.

You need not be a believer to appreciate its humor and humanity.

The Trip to Spain, perhaps isn’t quite up to the series’ opener (“The Trip,” 2010), it’s certainly a healthy cut above the second film (“The Trip to Italy,” 2014).

Because of age and illness, Varda is losing her sight, and Faces Places, which she co-directed, could be her last film. If so, she’s going out on a high note.

A breezy account of a man whose obsession began early.

In general the film is so impressive that we can't leave the theater without wanting more.

Sex is a persistent theme in the movie, and it’s handled forthrightly.

My main quibble is that the ending is a bit softer than I might have hoped for, but don't let that dissuade you. Headhunters is a well-oiled, nasty machine.

Beguiling.

A loose, amiable documentary tracking several decades in the life of this most unusual farmer.

In At Eternity’s Gate, Dafoe often works in silence, but tells us everything we need to know with his face and eyes.

The ending is a disappointment, a perfunctory upbeat gesture.

The film is dazzling and bewildering in equal measure.

An understated story of coping with emotional blows that offers a compelling portrait of a decent man.

The film may work best as a supplement to the underwhelming three-hour-plus extravaganza broadcast in February to celebrate “SNL’s” 40th anniversary.

Brower's legacy, however, is beyond question. Historian Starr calls him "an American hero," and though Brower was a prickly sort and a zealot, that judgment sounds right.

Much of what we see is revealing, but I was unable to quell an occasional sense that the dice were being loaded, that the subjects were being given just enough rope to hang themselves.

A giddy French comedy.

The veteran Baker anchors the proceedings, and you would like to see more of her character.

It's hard to argue with the movie's basic point. Dr. Robert Lustig of UCSF sums it up in three words: "Sugar is poison."

Marshall has an astounding instinct for popular entertainment. He's done it again with The Other Sister.

Depending on your tolerance for talking Chihuahuas, this could make for a fun family night out.

Don’t expect profundities on the ethics of cloning. And don’t expect Oscar-worthy acting. Senese’s accomplishment — and it’s done with a certain restraint — is to replicate the look and feel of ’70s horror films, which had become more assaultive on audience sensibilities than their predecessors, breaking taboos and borrowing techniques from exploitation films.

Defamation tries to give all sides a full airing, but it's not hard to guess the director's own feeling. At the end, he says, "Putting too much emphasis on the past, as horrific as it has been, is holding us back."

Parents should note the PG rating. There's little bloodshed, but several fight scenes, lots of loud roaring and some overwhelming special effects sequences could vex younger viewers.

The film is merciless in showing the obstacles faced by a down-and-out couple in strip-mall Florida, but there's a modicum of hope in the genuine love the characters share.