It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

Steadman is great fodder for a documentary, as he has continued to produce his signature works. But if you're going to make a movie about Ralph Steadman, make it about Ralph Steadman.

Bettany is outstanding. He infuses Frank with just the right amount of inner turmoil and confusion as he tries to balance his love for his family with the wounds they have inflicted upon him — and as he tries to come to terms with his own identity among them.

The One I Love is an odd, unsettling and ultimately satisfying movie.

It's a gentle and unassuming film, lingering over sometimes poignantly awkward conversations as Terry encourages his protege to persevere in his search for an original voice to go along with his skilled hands.

At the beginning of the film, you want Hong to work through the scenes faster. By the time it’s done, you’ll wish they lasted longer. That’s a kind of magic, too.

In Bethlehem Adler tries to make some sense of that world, and to the extent that it's possible, succeeds.

It is the mythic resonance of her story that makes it a worthy subject a documentary. But it is the down-to-earth human touches that make Afternoon of a Faun: Tanaquil Le Clercq worth watching.

Credit Joris-Peyrafitte for creating the dark, grungy world of the movie, and for making it compelling enough that you don’t want to flee it immediately. You may not want to revisit it — this is not the sort of movie that demands repeat viewings — but “The Good Mother” is a perfectly fine film.

It's a short film, weighing in at 79 minutes, but that feels about right. You probably wouldn't want to spend a lot more time with these folks, no matter how intriguing their company. You won't necessarily enjoy the visit, not all of it. But you won't be bored, and for grown-ups with kids looking for a night out, that's something.

Some of the comic bits are a little too broad and silly, but Derbez, in his feature debut, makes Instructions Not Included a balancing act more successful than it should be.

Foy is terrific, as is Pharoah.

It’s a scarily efficient little horror movie, directed by Dave Franco in his feature debut, who proves knowledgeable about his subject. Really knowledgeable, evidently, because he and co-writer Joe Swanberg dip into just about every trope of the genre by the end of the 88-minute running time.

Forbes' story and her direction of it may seem too sunny for some. But she keeps us refreshingly off-balance throughout, by letting us in on her memories the way she recalls them.

Maybe there are no more stones unturned when it comes to the Beatles. Maybe The Beatles: Eight Days a Week – The Touring Years is not especially revelatory or earth-shaking. But the band was.

It’s got an interesting structure — it’s not just about catching a killer but also about revealing Deke’s story. But it ultimately suffers for that, the dueling narratives not blending together so much as competing. Of course, you could do worse than watch actors like Washington, Malek and Leto work. But at the end of The Little Things, you feel like you could do better, too.

It's a small movie but an effective one, using found footage as a means to an end and not as an end in itself. More like it would be a welcome trend.

It’s a gripping movie, and Joseph Gordon-Levitt is good as Snowden (his voice alone is terrific), capturing his nerdy intelligence and passion for patriotism.

There is a sad sweetness to the whole affair, for lack of a better term. Or maybe it's a sweet sadness. But O'Brien's outlook on life (he thinks his use-by date may be approaching), and Hawkes' portrayal of it, elevates the film beyond what's on the page, making what's on the screen a lot more satisfying.

There are some clunky bits in which the filmmakers aren’t attentive enough to details. And the CGI in some spots is laughably bad. But Midthunder makes up for it. She makes Naru believably tough and smart, the kind of warrior who might well stand a chance against an opponent seemingly impossible to defeat.

Despite its emotional coldness, the film still manages to end on a note of something like hope.

The Alto Knights is a good movie, but one that feels like it could have been great. And for what it’s worth, although I’m still not sure why it’s here, De Niro’s Pesci imitation is killer.

Things go a little haywire at the end of the film when the story falls apart a bit — endings are tough, on Twitter and in theaters. But till then, it’s a non-stop thrill.

Barbershop: The Next Cut embraces the societal changes and rifts of the past decade, from Chicago’s increased violence and the Black Lives Matter movement to Barack Obama’s historic presidency, making the film an even more heartfelt love letter to Chicago.

As formula films go, The Bounty Hunter is more enjoyable than most, even if it packs in as many cliches as any.

As cautionary tales go, Disconnect is a pretty good one, but it’s not really a whole lot more than that.

Wood’s terrific direction and an outstanding performance by Morgan Saylor make it an involving cautionary tale.

For all the well-traveled roads in Girl Most Likely, Berman and Pulcini bring a sweetness to the material that suits Wiig’s offbeat talents. We know we’re being played, but really, if we’re enjoying it, why complain?