Recording "Body and Soul" with Bennet only a short period before her death, Winehouse's simultaneously effusive presence not only illustrates her fragility but stands in sharp contrast to the stable work ethic that Bennett has cultivated over the course of his 60-year career.

It never loses the dazzling surface polish, but without trying to dig deeper, the movie strings us along in the hopes of something more, not unlike one of the cons at its center.

Thanks to the fleshed out messiness of Dyrholm’s performance, and how eerily the former Eurovision contestant brings Nico back to life whenever she sings, the movie is able to support the sketchiness of its approach.

The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.

"To Leslie" doesn’t always make things easy, but it’s deeply touching to watch the film’s characters learn how to share their mutual good fortune.

If The Nest amounts to an elaborate exercise in style, at least it matches the material. Rory’s obsessions are all surface and no depth. For better or worse, the movie follows him into that void.

The result is at once accosting and strangely affirming, narrowly saved by a strong cast of performers and moody cinematography that navigate the movie’s thinner aspects and more ambiguous moments with relative ease.

The essence of Ant-Man is inherently silly, and that’s where the strength of the new movie lies.

If Arcand’s worldview hasn’t changed, his angle continues to grow more acute. Where The Decline of the American Empire focused on social ills, and “The Barbarian Invasions” was preoccupied with ideology, The Fall of the American Empire finds the 77-year-old Canadian legend turning his attention to the greatest moral catastrophe of our time: money.

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

Notice to Quit is redeemed by the simple fact of its nature: This isn’t a film that lives in the lows and highs of its defining moments so much as it’s a film that’s sustained by the strength it takes to put one foot in front of the other, and by the rush of rushing through New York City in lockstep with someone you care about.

Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.

Even when nothing else in the film makes sense, the unhinged ethos of its own creation leaves a clue behind with the clarity of a body-chalk outline.

Contextualized by the documentary, the movie amounts to an enticing narrative experiment even when it doesn't quite hold together.

Exhibiting Forgiveness is about making peace with the past for the sake of the future. It’s easy to pass one’s pain off on someone else, but it’s much harder to own it, carry it, and decide not to continue the cycle.

Searching for Mr. Rugoff often feels like inside baseball for film buffs, but if you’re of that group you’ll be charmed by it. The loss of theaters feels particularly acute at the moment and that too should also make this loving documentary feel even more poignant.

If the movie itself can be as clumsy and erratic as its heroine — especially during a third act that tries to split the difference between the Dardenne brothers and “Dog Day Afternoon” — Davis’ performance holds it all together with the power of centrifugal force, the actress spinning in circles of joy and rage so fast that you couldn’t get up from your seat even if you wanted to.

Lear remains a keen observer of his own ability to inject leftist politics into popular culture. The chief stylistic devices used to bring his experiences to life are a different story.

There’s nothing especially mold-breaking here, though an ending moment elicits a gasp even as Apartment 7A ends with a cruel shrug — and perhaps the best thing I can say about that is that now I immediately want to rewatch Rosemary’s Baby. Plus, Garner gives a captivatingly distressed performance as a woman being attacked from all sides, where the only way out is through a window.

What Corbijn lacks in filmmaking panache here he makes up with strong journalistic chops: These interviews are great.

No one needs a live-action remake, but ones this faithful and sweet are not the problem.

The deterministic narrative drive of “The Fence” ultimately proves to be the film’s undoing. At some point, the film eventually goes through the motions until its inevitable downbeat climax, at which point its dramatic shortcomings become difficult to ignore.

“You’re Next” doesn’t work particularly well as a stand-alone film, but that’s ok because it nails so much of what fans might be hoping for and expect from a new feature length take on the story.

The resulting documentary is a nuanced, humane, and more naturally uplifting portrait of three young people trying to keep pace with their dreams in a relay race that’s never offered them the inside lane.

Kon-Tiki directors Joachim Rønning and Espen Sandberg are at the helm this time around, proving capable captains even if the script they’re working from isn’t always seaworthy.

You can almost feel the director coming alive behind the camera whenever Amelia’s Children shifts gears from a gothic horror story to a giallo-inflected satire about the European aristocracy’s penchant for self-preservation at any cost.

Both bloody and/or creepy thrills are few and far between, but striking images and standout performances keep it cohesive.

Weisz flirts with greatness but unfortunately misses the opportunity to make the material soar. And yet he comes close.