As Marston once put it, “Frankly, Wonder Woman is psychological propaganda for the new type of woman who, I believe, should rule the world.” This reviewer concurs.

With its period-perfect recall of Seventies fashion and cocaine consumption, Chuck’s rise-and-fall story bears greater resemblance to "Goodfellas" than "Rocky" or "Raging Bull."

The real problem with For Your Consideration is that it's just not funny.

A well-chosen collection of friends and former lovers provides reminiscences that flesh out Chavela’s challenging personality. However, the documentary provides scant information about the challenges Chavela faced in her career.

It's a winning formula, and when done right like it is here, it transcends the clichés and moves audiences.

The underlying problem is the mainstream film format's length constraints, which seem to have forced a rude bowdlerization of the story.

In a time when happy endings seem in short supply, The Water Man's sense of heroic wonder is the kid-sized epic we need.

Why Don’t You Play in Hell? isn’t for everyone, but neither was Stravinsky’s "The Rite of Spring." Genius is genius, no matter how many audience members may riot.

It’s Hauser who keeps the movie from tilting over, even though Eastwood and Ray initially seem to patronize the character. The knuckleheaded scene-stealer from "I, Tonya" and "BlacKkKlansman" has the chance here to play a fuller, more rounded character for a change, and he’s unexpectedly up to the task. The performance is an eye-opener. With a little refinement and polish, we may have found our long-awaited Ignatius J. Reilly.

Poser, the debut feature from local filmmakers Ori Segev and Noah Dixon, is so in love with the scene from which it draws, with the bands given momentary cameos, with the cool hipness and store brand subversion of it all, that they never seem quite capable of giving it the critique for which they seem to aim.

It's an endearing romantic daydream, but misses the bus where matters of reality are concerned.

A suitably rigorous sports movie. On the other hand, at no time does it break out of the "sports movie" mold.

This portrait of 1940 France on the verge of capitulating to the Vichy regime is intriguing. However, what keeps the movie engaging is its nutty tone.

Like its protagonist, it never hands you explanations on a silver platter, and it makes you think a bit, something far too few thrillers do these days.

That energy placed into making the audience look and listen out to the edges of the film makes Beth's central placement even more vital and enthralling; and by moving to The Night House, Hall is finally given the space that every previous performance has shown she deserves.

American Animals is as much an exercise in objective truth – or the lack thereof – as it is the retelling of a single series of events.

A feel-good film that uses hope, kindness, and generosity (if a bit austerely) to convey this strong message that releases endorphins as strong as any runner’s high.

Despite its age, The Long Riders remains quite fresh. By combining elements of classic Westerns with a modern narrative, Hill and his capable cast render a thrilling look at characters often misinterpreted by Hollywood.

Hard truths: Popstar’s jokes land pillow-soft.

The film can feel a touch overscripted, but Polley and her actors effect true-to-life rhythms of speech.

Everybody Knows is not Farhadi’s best work, but he does deliver an affair to remember.

The Wedding Banquet, Ang Lee’s’ 1993 breakout feature, is actually an inspired vehicle to revisit.

Ultimately the film manages a warm, offbeat appeal despite its flaws, and it has real heart.

Where Kore-eda finds his languid but captivating pace is in the constant itch that there are no ways to quite make all of the pieces fit.

All are filmmakers who find lyricism in natural elements, and this ability reaches an apogee with Land Ho! Yet the film runs the risk of being mistaken for a picture postcard.

At its best, Thank You for Your Service is "The Best Years of Our Lives" for the modern generation of war veterans.

The sequences where the film moves beyond the store, and places it within a greater context, are undoubtedly the most intriguing.

The film gets heavy-handed about its premise sometimes, exaggerating the online-ness of it all with artificial glitches and voice modulations, but beyond that, Language Lessons is gorgeously, uncomfortably real.