Rockwell and Schwartz are basically doing their version of a Hope-and-Crosby road film. They play characters very familiar to an American audience and that is played against a British comedic landscape. The result it interesting to watch, but I think more for the Brits than its American counterparts.

We the Animals, a stirring portrait of youth, is a requiem for innocence lost.

The Motive is a fun, light film with a sad sack lead we can love and good laughs sprinkled throughout.

It is a documentary that shows the passion one entertainer has for one of the most iconic singers of all time. Davi’s drive to see it happen is what keeps the audience engaged, and the discovery of his singing voice is worth the time to watch the movie all on its own.

Björn Runge’s The Wife is an unmissable drama, largely in part to Glenn Close’s stunning performance in the title role.

Lough has attempted impartiality by showing both sides without overtly stating a position. Either side could interpret the film as presenting evidence supporting their ideology. This both works and does not.

Do You Trust This Computer is informative at the least. Everyone and everything comes off as credible, and the philosophy comes off as plausible. It effectively plants the seeds of paranoia.

The spontaneous performances of the duo are half the battle for the success, but definitely, Ms. Israel is also influential and decisive as she merges both the comedy and drama genres with gracious artistry.

It’s interesting to watch a movie where some aspects of the production are of such a higher quality than others. The script’s dialogue is wooden, character motivations are often unclear, and it’s hard to infer what we’re supposed to get from some exchanges.... Meanwhile, the acting is all-around excellent.

Every glimpse behind the curtain brings new meaning to your favorite songs. You discover how intimate and personal this album is for Sheeran and how much it means to his family. After watching Songwriter, you will listen to Divide with a newfound perspective that makes each song sound even better than it did before.

A sweet, introspective, and touching story serves as the heart of this outrageous and twisted dark comedy.

The animation is workmanlike in its execution, delivering more seamlessly perfect digital commodity level output.

The Meg is simply toothless.

If there was one reason to see 40 Years in the Making: The Magic Music Movie is for its music. Constantly playing in the background, you’ll find an appreciation for how good this band was, how a band this good could never find success, and how the group’s dynamic tore it down.

Over the course of 93 minutes, Madeline’s Madeline simultaneously feels like nothing happens and everything happens. It’s a strange, sometimes frustrating dichotomy that ultimately gives the film its bizarre edge.

The only excuse you have not to see Crazy Rich Asians is because you hate love.

Summer ’84 requires patience. If you find yourself feeling like you’re bored by familiarity, just wait. You won’t be disappointed.

Despite its overused plotline, the film works. It exudes charm. It makes you laugh at the silliest things, and it tries hard to make you cry.

The women both in front of and behind the camera work wonders in subverting genre expectations, but not in the hokey, pandering way that female-led blockbusters so often settle for.

You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.

Most appealing is the film’s mixture of California post-War history, cults and a tinge of science fiction — an intriguing combination of elements that make it a winner.

There’s no wasted motion or extraneous dialog. The film is exactly what it should be, lean and precise. This is a masterful rendering in shades of grey of an exciting new take on horror.

Amir Agha’ee shines as the film’s lead. His portrayal of grief and guilt is heartfelt and his emotional performance is perfect.

The film-craft is high quality, with the passion and care taken evident. Schwentke brings the brutal winter during wartime to realistic life. If you have historical interest in deep details of the war, or are fascinated by psychopathic war criminals, this might be a film for you.

What elevates Path of Blood above a mere rote retelling of a far-flung conflict which was has since subsided, is how deftly the filmmaker knits in the footage filmed by the Al-Queda members themselves with other source material. By doing so, the filmmaker both humanizes these young men — some of them boys really — who seem like lost souls in search of some ill-defined adventure while at the same time magnifying their pitiless violence and zealotry, not an easy feat.

Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative.

It’s a fascinating study of contradictions in values, made by and featuring women who want to transcend those contradictions.

Structurally, Science Fair is sound. Its a cross-section of human-interest stories is inspiring. The subjects are engaging and worth rooting for. It looks in depth at the processes of competing in a science fair. And the revelation of winners is exciting and nail-biting.