Thorough and competent, The Dissident works as an essential political documentary. It covers Khashoggi’s assassination in detail, and very clearly makes it known that Saudi Crown Prince Mohammed bin Salman is the one behind it. However, it’s certainly a step down for Fogel, and while its production is glossy and polished, the lack of inertia keeps The Dissident from reaching its full potential.

The title, with its built-in weightiness ... well, it’s a tall order, one this latest Pixar animated feature falls just short of. The dominant mood here is not so much soulful as spirited, which is still better than most – and a most welcome gift.

Jenkins had an opportunity to build on the flawed but rousing headlining debut of DC's greatest woman warrior. Instead, she delivered the modern DC Extended Universe's Superman III. It's a lumpen mass of half-ideas and glaring fan service, topped by a horrendous montage ending that is clearly designed to inspire hope, courage, and kindness, but will more likely make everyone wonder if that was why they waited two and a half hours.

As improbable as Valerie’s endgame seems once revealed, it plainly demonstrates she’s nobody's chump. It’s not exactly a feminist reading, but one that gives Fatale a little backbone.

The aliens look better than ever, Morgan delivers just the right kind of dry-witted action heroics, and Skylines takes the trip to the stars that the franchise has been promising.

Sister of the Groom is an almost-delightful rom-com, but it never commits to the bit.

As a subversion to rape revenge films, it’s only halfway there.

It's all peak Anderson, which sadly also means his inability to put a story together.

Greenland might be a B-movie at heart, but in keeping at least one toe on the ground at all times, the filmmakers craft something that punches well above its weight class. Here’s to one of the more consistently surprising director/actor relationships of our era.

It’s a slow burn of a film, one that creeps through the consciousness. But it is not without levity.

The family’s reunion story is enhanced by showing it from each character’s perspective. Each time, we discover more about each person and come to admire the sensitivity they show toward one another.

What really keeps Wander Darkly together is yet another convoluted, conflicted, and honest performance from Miller.

The two leads are watchable enough, but the script keeps their characters emotionally separated, so you never see anything remotely like chemistry between them.

At a two-hour run time, Hart attempts to make you feel every moment, but most of these plotless, meandering moments just seem to feel empty. The magic never clicks, and this rich-looking, Seventies-set thriller ends up feeling more like a drag on an unlit cigarette than a burn.

For moviegoers with a mind for historiography – who enjoy the rewriting of history onscreen as much as the contents of the films themselves – this can be a surprisingly meaty bite of B-movie martial arts. And for the rest of us? There are crowds, and raindrops, and a climactic showdown with a foreign enemy. That should hew close enough to the Ip Man formula to keep any martial arts fan satisfied.

Mortimer, coming off his critically-acclaimed and award-winning debut Daniel Isn't Real, never quite strikes a tone or a pace that suits his tale of a (potentially) fractured mind.

The problem between Anika and Martin is the problem they had from the beginning: He is a shell of who he once was, lost in his own middle-aged melancholy. The problem is not the substance, it’s the person, and with Another Round, Vinterberg has crafted a beautiful dissection of that conundrum.

The Planters is a lovingly crafted film full of genuine wonder and surprise, like finding buried treasure.

The Mystery of the Pink Flamingo is not about flamingos, but about how people imbue an abstraction with value, which becomes an exploration of kitsch. But then it's not really about kitsch, no matter how many pink knick-knacks are on display. Meneo's quest becomes the purpose, in a ludicrous, adorable, playful story of finding yourself.

While understated and deeply personal, Mayor cannot avoid the current conflagration in the region.

Insert Coin doesn’t tell gamers anything they didn’t already know, and non-gamers won’t care – so unless you're a hardcore fan, maybe just save your quarters.

With way too many tonal shifts and a narrative that trades cohesion for caprice, the film feels like riding shotgun with a toddler attempting to drive a manual transmission.

Julien Temple gave Shane MacGowan exactly the documentary he deserves – unruly and full of heart.

It is an exhilarating feat of control, and a scathing deconstruction of the sacrifices made in the name of art. You have to confront those threatening corners of the psyche. You have to embrace the black bear.

Somehow All My Life seems oddly lacking in stakes, which is so weird considering the story (the main symptoms of onscreen Chau’s deadly but photogenic disease seem to be a little tiredness and sweatiness).

In its quiet, apolitical observation, 76 Days points to a complete failure – not only of the Trump administration to get a handle on this public health disaster, but of the American press.

It's a finely-crafted puzzle box that speaks as much to the heart and the head, with a simple but poignant message that we are only ourselves if we are complete.

Uncle Frank revolves around Uncle Frank, and Bettany's career-great performance as a man who knows where the gaps are in his life, and how much his whole relationship with his family is about holding his breath.