Exuberant but fairly formulaic.

It's such high sports drama you'd swear this documentary is fiction.

There's even a Simon and Garfunkel tune on the soundtrack, which makes Braff's character seem like the only living boy in New Jersey, which, of course, he may well be. L'chaim!

There is much pain, and any number of deeply philosophical questions posed, if not answered. This is very powerful stuff, but what you ultimately make of it will have a lot to do with the politics you bring to watching it.

A curiously unaffecting amalgam of the archetypal coming-of-age tale, here twinned to "outsider" religious overtones (in this case São Paulo's Orthodox Jewish community) and a small but deadly dose of uneasy political melodrama.

As COVID-19 widens the gap between the rich and the poor in communities across the country, Cut Throat City’s institutional assault feels sadly timely.

The script, and Theron, matter-of-factly illustrate the old adage about Ginger Rogers, that she did everything Astaire did, only backwards and in heels. That the film actually gives her credit for it? That’s the best kind of wish fulfillment fantasy.

Freaky hilariously modernizes the high school bloodbath for laughs.

The Legend of Ochi is a kids’ movie in all the best possible ways, all the most enriching, magical ways that a kids’ movie should be. It’s also educational, but not in a teaching, preachy fashion. Instead, it’s filled with wisdom and heart, a fabulous tale of the fantastical that will leave your children filled with a sense of wonder about the world.

A sweet German movie by a first-time filmmaker, who, I would bet, is more than a little familiar with the early work of Jim Jarmusch or just about any Aki KaurismŠki film.

Associated with the modernist architectural movement centered in Southern California during the mid-20th century, Shulman’s still photographs are essential to any study of the style’s vast popularization and commercialism.

Furious 7 is, to put it succinctly, a rush and a half.

It's not all fun and games, and that's where Scotty can feel a little strained.

Bateman's worldbuilding introduces stranger elements that are always counterbalanced by more grounded emotional developments, keeping the audience engaged as hard as the esoteric mythology pushes them away. In that delicate balance it bypasses the logical parts of the brain and speaks purely in quiet emotional truths.

Upgrade is a welcome excuse to put Marshall-Green through some delightfully complex fight choreography.

Beyond surprising thematic depth, The Old Ways is an exercise in putting every cent on the screen, and hiding what you don't need.

It ends up seeming more real and more artistically, morally, and spiritually honest than any dozen bedrock documentary films you'd care to name.

Thomas’ comic flair is undeniable, as is Stern’s comic acting ability; all other arguments aside, Private Parts is a consistently uproarious affair, riddled with brilliant comic set-pieces, including Stern’s many, many run-ins with various program directors and NBC brass.

Patti Cake$ treads familiar territory while also presenting something fresh and original.

A comedy that's refreshing in its courage to embrace tradition and just have fun.

It's charming, in its own little way, but really, this film has as much substance as a Cirrus cloud, despite fine turns from Boyle as the family patriarch and Warden as Godfather Saul.

There are no violent clashes or extraneous drama about boys. Instead, it's a simple and tender portrait of how friendships aren't always forever.

While the altruistic nature of the Tompkins’ intentions finally swayed the hearts and minds of the country, a more thorough examination of this process (and all the lawyers involved) would have been welcomed. But this really isn’t a film that’s interested in that complexity.

Director and writer Gunn is a dab hand with space opera quippery and most of the set-pieces land bang on target, with collateral emotional damage to boot.

Director Duke (A Rage in Harlem and countless TV work) rivets our attention with his tightly framed shots and crisp editing that intelligently revives that bygone tradition of jump cuts (though they confusingly disappear completely midway through the movie).

A two-hour-plus cat-and-mouse game between the two heavyweight actors unfolds, and is enthusiastically filmed against a to-die-for soundtrack, detailing the exhaustive efforts on both sides to take the other down.

The Life of Chuck is not so much about raging at the dying of the light but about how we embrace the inevitability of death and the wonder of what comes before. It’s blockbuster metaphysics, a twinkle in the eye of the infinite.

Tran undoubtedly aims for an old school Hong Kong comedy martial arts movie feel, lighthearted and light on its feet, and he lands that blow dead on. But rather than a knockout punch, it's a tickle on the ribs and a tussling of the hair from this sweet and funny action flick.