A Love Song is, no doubt, a small movie (it only lasts 81 minutes), a miniature study of a life. But it is an oddly compelling one. And Dickey and Studi masterfully make the difficult look easy.

Sherriff doesn’t offer any great answers here. It’s not like his play ended wars. But it’s a timely reminder that for all of the talk and negotiation and blustering and posturing, war means death, and “Journey’s End” brings that message home.

A documentary that delves into what happens when the ghost stories you told as kids, the stuff of urban legends, seem to come true.

It’s terrific. This was something of a surprise, as it seems almost impossible to tell this kind of story without a treacly narrative and clichéd notes of inspiration — against-all-odds kind of stuff, which so easily slips into melodrama.

There isn't a cynical bone in this film's achingly sincere body. And it's not really a horror movie, unless the "horror" in question is the all-consuming awkwardness of young love.

It's outstanding work (Carell). It's also a really funny movie.

Her (Williams) performance is so engaging and complete, it's worth all the other shortcomings.

It's always entertaining to see a genre tweaked, at least when it's done so with the proper mix of respect and madness at work in Slow West.

Director Susanna White keeps things low-key and absorbing, as the action moves from Marrakesh to London to Paris to Switzerland.

Engagement with the enemy isn't a possibility here. It's a certainty. The unit will face fire daily, sometimes as often as four or five times. The stress is incredible, the courage displayed even more so.

In a movie with uniformly outstanding performances, Rockwell, as ever, is especially good. So is Carell, playing against type. But what makes The Way, Way Back stand out is Faxon and Rash’s obvious familiarity with what Duncan is going through.

It’s a sobering reminder, during the rise of the Black Lives Matter movement, how undervalued Black lives have been, and for so long, in this country.

If a heartfelt summer comedy feels like something that the doctor ordered, then a healthy dose of Marcel the Shell with Shoes On is just what you need.

The movie relies on the chemistry between Reynolds and Smith plus nostalgia, but it works well. This might be the best video game-based movie yet. So when it comes to tickets, movie-goers gotta catch 'em all.

Count Captain America: The Winter Soldier as another success in the Marvel line. Thanks to the chemistry between Evans and Johansson and a willingness to shake things up, it's more than just a placeholder between "Avenger" films.

Manipulative, overly sentimental, sometimes ludicrous and almost completely irresistible.

The movie belongs to Gleeson, commanding in every scene, even when he's sitting silently, listening to another sinner go on about what's wrong with everyone else.

Kapadia does an outstanding job of getting at what Senna meant to Brazilians and to his sport. The man himself was a tougher nut to crack, but maybe that's best. A little mystery suits a good story, and Senna is definitely that.

The film is leisurely paced, as many French films are, and not much actually happens, but as a character study, it feels true, and ultimately moving.

It’s a lot of fun. Unfortunately, in her slavish devotion to creating the world of schlocky, B-grade sex-infused horror films, she recreates the good and the bad, the latter including some boring stretches that could’ve been lost in the two-hour running time. But it’s all quite enjoyable and a knowing take on patriarchy besides.

As an encore for Brand's Aldous, it's a welcome return. And for Hill, it's a chance to really shine.

As in “The Searchers,” some of the motivations are questionable and murky. Yet the pain of losing someone you love is just as palpable.

Prometheus is a good movie, sometimes very good. It's just not a great movie.

Igawa is almost a magical presence, projecting a calm in Ozu that is infectious.

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.

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.

Air isn’t a documentary, it's better — a brilliantly acted, fascinating true story.

It's all a seedy, sordid mess, and it only gets worse -- and more and more intriguing. Layton engages in re-enactments of some parts of the story, a tactic that is either helpful or annoying, depending on your appetite for such things.