Ashes in the Snow is a good, yet unsatisfying movie with the potential to have been so much better. The pace is too slow, and the characters’ arcs are predictable.

The most critical element of Winter’s documentary is not the scandal itself, but the fact that hundreds of journalists from around the world were able to work together to expose this corruption, despite the consequences, and their egos.

Every now and then, a line or a subtle moment in someone’s performance has some truth in it, but little is sustained in Bullitt County.

In Stay Human, Michael Franti examines the idea of staying human in these times when we’ve all embraced cynicism and fear over the optimism and potential of the human spirit.

Goodnight, Charlene is decently directed, beautifully lit, and most of the cast do well all things considered. However, two of the leads are quite dull, the script is trying too hard to be duplicitous, and winds up going nowhere all that compelling.

In the end, what we have with In Like Flynn is an homage to the action-adventure tales of old Hollywood, appealing to the fans of the adventure films of old.

Documentaries by nature are utilitarian, telling a story from real events as they happen with little expectation of aesthetic value. Once again, Smith ups the ante, delivering a film that is not only intellectually stimulating but visually as well.

Taylor’s mission with this film—to answer the unanswerable—is brave. Where it shines most is in how concise, clear and comprehensive each main idea is relayed.

A lot was left behind in this depthless account of a disaffected ghostwriter who wanted to affirm her artistic gift, freely and publicly. She actually did it with bravery and conviction, but this film doesn’t do her justice. Hence, my suggestion is: save your ticket money and read Colette’s biography instead.

Bruce Thierry Cheung adapted this story from a novel by Dean Bakopoulos, brilliantly changing the setting from Michigan to the California desert. The film is light on dialog and heavy on brutally beautiful cinematography painting the mood.

Ghostbox Cowboy is a wonderful mishmash of mockumentary that lends comparisons to Ulrich Seidl’s work or Harmony Korine’s earlier films such as Julien Donkey Boy and Gummo, with the weirdness of Terry Gilliam and the idiosyncratic brutality of Werner Herzog, while also being a completely unique animal apart from these influences.

Rockaway takes on, and a large part successfully addresses some very serious, very adult themes: abuse and its legacy for future generations, familial protection, and preservation, loss and redemption — all with a strong measure of grace and empathy.

I found myself just not engaging with the lead characters and storyline as much as I like. In the end, I was just observing people dealing with a problem, while never able to be in the story as it played out.

It helps immensely that Hart and Cranston play off each other well; or at least when the script is not getting in their way.

Rohrwacher’s work is brilliant and very much recommended.

I especially enjoyed that it was more than just a straight-up boxing film.

Unbridled tells a conventional story, but it adds enough new twists to prove engaging. The acting is strong and the direction assured, so even when the script drops the ball, there is still a reason to remain invested. Plus, the ending is genuinely heartwarming and cathartic. Not all dramas achieve that.

What could have explored the real complexities behind a serious issue instead became a self-congratulatory pat on the back for holding a specific viewpoint, and a boring one at that.

There is no emotional manipulation, and there are no ideological hand-outs. You almost feel like you’re watching the events unfold through a keyhole, which gives every hushed exchange and passive-aggressive examination a voyeuristic thrill.

As a violent, supernatural adventure, the film should attract both action and horror enthusiasts alike, yet Evans ends up slightly short of thrills and ambiguity, which are always valuable aspects of the genre.

More inanimate than haunting, The Little Stranger is Abrahamson’s least interesting feature.

Beautifully shot, this character study fascinates in an almost perverse way, building up adequate levels of tension throughout and bursting with disturbing scenes of violence. It is also a tale of solitude, equally tragic and funny, heavy and whimsical.

Beyond The Night is a solid film with a solid story, good acting, and beautifully shot.

Glass is not a perfect movie, but it is a consistently entertaining one.

Tejano is one of those films that can be described as a hidden gem as it sneaks under the radar and will have you talking, telling your friends about it, and wanting to watch it again.

The reason to see The Last Movie Star is its performances from both Burt Reynolds and Ariel Winter. It’s a sweet, solid film and a suitable bookend to Reynolds’ career as a leading actor.

Filled with situations that mirror the social and racial preconception of the time, this hypnotic tale of punishment and atrocious colonialism is an engrossing experience.

Ophelia is an amazing movie that puts a positive feminist spin on a very familiar story. I’d love to see more classic stories retold from a female perspective like this one, written by women and directed by women.