So what drives these men? “Because it’s there” merely scratches the surface. Meru may not answer the question completely — likely nothing can — but it is a thrilling, harrowing attempt.

Moreno felt as if she didn’t have much worth as she struggled, she says. One of the most satisfying things about the film is that through decades of struggle she clearly has found that worth. It’s in her confidence, the confidence of someone who has come out the other end of a long struggle with the knowledge than nothing is going to get her down. You can’t get the best of her. It’s inspiring.

Clemency isn’t exactly a good time at the movies, but it’s definitely an enlightening one.

Yes, it’s graphic. But that’s the point. The discrimination and racism that fueled Emmett Till's murder and sparked the civil rights movement are still omnipresent.

It isn’t the kind of movie where you nitpick the details. It’s the kind of movie where you float along from one scene to the next, buoyed by catchy hits like “Golden” and “Soda Pop.” They don’t just serve the story, but drive it.

“Nope” is good — quite good in places. But it’s not great. In fact it’s not clear that Peele means for it to be, odd as that sounds.

Like the original, Finding Dory makes us understand the fears, joys, struggles and triumphs of family.

Jiro Ono is a magician.

Cliff Curtis is staggeringly good as Gen.

It’s an assured debut from a rising star that nails tone and pace. It would be a solid summer thriller were it not grossly undermined by its astonishingly regressive treatment of its leading lady.

It’s heartbreaking at times, but it’s also uplifting — the three subjects are fierce advocates and activists, and Cohen’s empathetic storytelling makes it a personal journey. It’s also often entertaining, because the three are so expressive and engaging.

Perhaps the greatest compliment you can pay Victoria is that while you go in knowing about the gimmick, it doesn’t take long for Schipper to make you forget it almost entirely.

It boasts a terrific performance by Katherine Waterston and an even better one by Elisabeth Moss. It's not exactly a grand old night out at the movies, but it's still well worth the time (90 minutes) and effort.

Paddington is a mostly smart update loaded with charm, and it preserves enough of the fuzzy feelings for purists to walk away with a smile.

Despite the specificity of the setting and the performances, there is a universality to the story.

Mendelsohn manages to make us simultaneously feel sorry for him and hope, against what seem like steep odds, that he somehow succeeds.

It’s a powerfully sensual movie, gorgeously lensed colors and textures conveying its characters emotional states while thoughtfully exploring the range of human sexuality through Adenike’s experience.

Floridly explicit, gleefully disgusting and yet somehow kind of sweet, the film is a showcase for Carla Juri.

He's often called the Yiddish Mark Twain; supposedly Twain, upon hearing this, said to tell Aleichem that Twain was the American Sholem Aleichem.

This is really entertaining stuff. It requires the ability to laugh at misfortune, but Szifrón is so skilled in his writing and direction that this isn't a problem.

[An] enormously entertaining documentary.

Personal Shopper draws you in, interesting from all angles.

Polanski builds suspense slowly, exquisitely. It's not a matter of shocking the audience, although there are surprises, but of creating an ever-growing sense of dread.

Thanks to the nicely layered characters and a near-perfect mix of action and merriment, the movie feels wonderfully vivid and alive.

So much of "The Hunting Ground" describes the behavior of college students at their worst. Watching Pino and Clark find some measure of peace and healing while offering the same to others shows it at its best.

We get a sharp look at getting older, growing up and assuming responsibility. The fedora is optional (and not recommended).

Jockey, Clint Bentley’s debut feature as a director, is a delightful subversion of the typical sports movie. It’s an assured film featuring outstanding performances, which of course helps a lot.

Jean-Marc Vallee’s film is anything but standard, thanks to an astonishing performance by Matthew McConaughey.