The film feels overlong and a bit repetitious, but it’s obviously a complex subject that deserves a thought-out treatment.

This is a film that finds horror not in the extreme, but in the mundane. That alone makes it a worthwhile entry in a genre that it both inhabits and rises above.

The world Bell creates in In a World ... is so agreeable and inviting you’ll enjoy the visit.

It is not hyperbole to say Oyelowo is a revelation. The British actor brings phenomenal humanity, grace and torment to a historical figure who once seemed to loom too large a legend to make flesh on screen.

This truly is what a summer movie looks like — and yes, feels like.

Green shows us nothing lurid, nothing explicit. Instead she lets the toxicity build, bit by bit, until it’s seeped in everywhere. That’s powerful, and that’s worse, too.

Eschewing a tidy wrap-up, Reeves doesn't leave us feeling manipulated, as so often happens in films like this. Instead, we want to know where the story goes from here, and that's no small accomplishment.

Denis (“Beau Travail,” “35 Shots of Rum”) is a very particular filmmaker, forcing you to adjust to her rhythms. Never is that more apparent than the last scene, which goes on for a quarter of the film or more, right through the end credits and beyond.

The look of the film is jaw-dropping at times, beautiful to behold. If the story... can't quite keep pace with the look of the film (and, alas, it can't) it will take you awhile to notice.

Succeeds in portraying a life so solitary that, even when he knows what's going on, that's a deal Owen is willing to make.

Fences is a feast of brilliant acting, in a story that’s sometimes as difficult as it is powerful.

Even more than an expose of bad reporting and social hysteria, The Witness is an intimate exercise in grief and healing

It may be slow by Hollywood standards, but it's accessible at every moment, and we come away feeling that human character is more complex, and perhaps darker, than any studio is willing to test an audience with.

Malik Bendjelloul really knows how to spin a yarn.

If it’s not great — think of a sort of JV “Commitments” and you’ll have the idea — it is surely winning.

Once again, Sofia Coppola captures how it feels to be a woman unrealistically idolized by a romantic partner — instead of simply respected.

The Innocents, writer and director Eskil Vogt’s horror film about children with supernatural powers, is definitely difficult to watch, a brutal bit of business. But the thrills aren’t cheap — they’re hard earned, if you can call them thrills at all.

It's all or nothing with Black Swan. Either you embrace its headlong descent into madness brought on by the pressures of artistic perfection, compounded by smothering anxiety, or you reject it. It's that simple.

This is a film as powerful as it is painful.

I can say without hesitation that if you’re looking for something ambitious and difficult and super weird — and satisfying, in the end, though think of that in loose terms — I recommend the rather amazing experience.

Indignation sneaks up on you, and that may be its greatest difference from the blockbuster mentality. Its explosions are quieter, but just as destructive.

You may or may not be surprised by developments here, but it doesn’t really matter. What does is the honesty of the characters and the absolute delight it is to spend time with them.

All of this is interesting, in varying degrees. But watching and listening to Fox talk is magnetic.

This is one film I think you should remain seated for as the dark comedy and psychological thriller will leave you feeling better about yourself in the end.

When it reaches its boiling point, Les Misérables absolutely roils.

Kajillionaire is hyperbolic and surreal, but also, with July’s unique touch, sweet.

Top Gun: Maverick is a movie-star movie with great action pieces best seen on the biggest screen available. It’s a modern take on old-fashioned fun.

In many ways BlackBerry is the standard-fare cautionary tale of tech start-ups. Insert your Icarus metaphors here. But there is a kind of sweetness to the film that makes it more compelling than the typical rise, crash and burn movie.