Despite the film’s gripping final chapter, its heroic Czechoslovakian characters are completely disconnected from the rest of the country, much like their struggle has been omitted from the cinematic legacy of the war they helped to win.

Though imperfect, if it were the Peaky Blinders’ last hurrah, it’s certainly a spectacular way to go.

It's not a terrible film, and succeeds in giving us a play by play of an alleged dynamic between two individuals, but as a whole feels like a missed opportunity.

Voyeur is framed as the story of one observer trying to clarify another, but Kane and Koury lose sight of their own film, which is really a story about two men so desperate to hear the sound of their own voices that they deluded themselves into thinking they had something to say. Voyeur falls right into their trap.

The entertainment value of The Humbling comes largely from Pacino's performance.

See for Me wastes no frame in its brisk 92 minute running time, it’s a tightly-wound thriller propelled by enough turns that you won’t want to miss a beat.

In Yann Demange’s bland retelling, the kid’s downward spiral has been reduced to a series of crude, unremarkable encounters and the very thing this true story shouldn’t be: poverty porn. Nevertheless, Demange manages to stitch together a number of involving scenes that track Ricky’s harsh upbringing and the events that precipitated his downfall.

Even as Benjamin Biolay’s dolorous string score threatens to flatten “Being Maria” into a more traditional rise and fall story, the film is buoyed by Vartolomei’s constant pursuit of the truth, and by the intensity with which Maria is always searching to see herself reflected in the eyes of those looking at her — our eyes very much included.

This film is not the best representation of Burnett’s works, which toed the line between the magical and the painful — but in the moments when it succeeds, The Secret Garden blossoms into something beautiful.

The film would have benefitted from either committing to Carter’s growth or taking the comedy in a much darker direction, but the middle path it trods is ultimately unsatisfying. Lousy Carter might be a reminder that middle age is filled with monotony and unsolvable problems, but that doesn’t mean our movies have to be.

More than the fervid cartoon violence and Cage’s rococo line readings, the film’s greatest asset lies in its simple, cold-blooded premise.

Jolie keeps the narrative afloat thanks to first-rate craftsmanship, a few well-honed moments of bonafide suspense, and a terrifically restrained Jack O'Connell in the lead role. While it only hints at the sweeping epic that never fully materializes, Unbroken offers further proof that Jolie's directorial instincts pass muster alongside her other talents.

Page and Wood navigate this difficult, often half-formed material with great tenderness and surgical precision — together, through thick and thin, they convey a feeling of great personal growth, revealing new wrinkles to their roles long after Rozema’s camera has stopped looking for them.

Even with a ridiculously fun premise and more than a few twists, the film never fully regains its initial suspense after the bomb explodes relatively early in the film.

Collet-Serra ensures that we feel the risk of every stroke between his heroine and her safety. The action is visceral and immediate, but crucially contextualized by a helpful array of wide shots and bird’s-eye views.

This is a film about an artist who forgets herself, made by an artist trying to do the same, and with the help of an actress looking for an anchor of truth to hold onto right when the tides of stardom are threatening to pull her out to sea.

The craft on display is often as undeniable as the cast that Mackenzie has assembled to bring it all to life, but “Outlaw King” is a moribund piece of storytelling. It’s too big to be an intimate portrait of a reluctant leader, and not big enough to effectively contextualize that leader’s role in the war he was born to fight.

Biosphere is tons of fun as a character study, but its ideas will leave you gazing out of its geodesic windows, wishing there was something more out there.

A Land Imagined is a film that’s intent on losing its own sense of self, a goal that Yeo fulfills by never allowing it to have one in the first place; he digs a rabbit-hole, and then falls right into it. It’s fascinating to watch Yeo tumble down into the depths, but eventually it starts to feel as though he’ll never hit the bottom.

Enhanced by a number of notable comedic actors entering uncharted terrain, it’s the kind of movie that makes you laugh and flinch in equal measures, and despite some messier twists, never ceases to move in surprising directions.

The action that clutters the last hour of this movie is never compelling enough to feel like anything more than a bloody distraction, but the characters vibe together so well on their own terms that the walking dead only need to provide an existential threat.

Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.

It’s a shame that telling the Gibbons’ true story is a task too difficult for The Silent Twins, because there are real signs of promise.

The result is a portrait that’s equally sullen and playful, clever and confused; for all its pleasures, All Is True never amounts to the sum of all the many parts that Shakespeare may have played in his time or thereafter.

For all of its low-key revisionism and post-modern flourish (most explicit during a kung-fu style training montage set to Leonard Cohen and a funny “Gladiator” reference that lands at a pivotal moment), Foulkes’ confident and kooky feature debut is less interested in subverting its source material than in continuing the puppet show’s long tradition of keeping with the times.

Humane doesn’t want to be a hard-hitting drama about moral equity in an unequal world that nobody escapes alive, it wants to be a satirical — and increasingly basic — thriller about the evils of financially incentivized health policies in a world where nobody deserves to die, and it’s hard for it to succeed on those terms without caring about which of its characters ends up in Bob’s other body bag.

That someone as successful as Jacobs is so beset by a lack of confidence is a compelling conceit — it also speaks to Coppola’s own interest in the subject, admirable indeed — but in Marc by Sofia, we really believe him. He really is just that worried, always that worried.

In the end, though, it’s all about the battles, and Wingard’s film offers some of the franchise’s best.