Despite some clumsy moments, My Big Fat Greek Wedding 2 handily revives the first movie's appeal.

I Saw the Light doesn't just fail to illuminate Williams' complicated life and his prodigious talent; it can't even capture the dark corners of a man with more than enough to peer into.

Rather than focusing on a cataclysmic showdown between pop culture's most famous men in tights, Zack Snyder's flashy, cacophonous follow-up to 2013's "Man of Steel" is basically one long teaser for the next installment.

Côté often frames his protagonists in such precise compositions that the world they inhabit is inescapably artificial and symbolic, rather than dramatic.

A delicately wrought ensemble piece with first-rate turns by Gillian Jacobs, Keegan-Michael Key, and Birbiglia himself, Don't Think Twice scrutinizes its playful setting and finds an ideal entry point for exploring creative desperation.

Wildly entertaining in parts, Keanu overstays its welcome and just keeps going, showing the growing pains of sketch comedy drawn out to epic proportions.

Endlessly charming and sneakily wise, Everybody Wants Some!! epitomizes Linklater's unique ability to magnify human behavior with levity.

Visually scrumptious and slickly told, Creative Control illustrates the power of groundbreaking technology while also indicting its extremes.

Filled with considerable dread and mystery, 10 Cloverfield Lane functions just fine as a standalone genre title. But as a spiritual sequel to the original, it builds out the so-called "Cloververse" far better than could be expected from even the most straightforward of tales.

On the few occasions when the filmmaker does manage to capture their faces, Trapped obtains a more profound connection to the stakes at hand.

Expert craftsmanship can't rescue Triple 9 from the constant feeling of a pulpy remix.

Given its themes and the tragic circumstances of Dickinson's life, "Passion" is a refreshingly humorous work. Its firecracker dialogue is invigorating; the assured, measured compositions are equally compelling. And in its sensitivity to intersecting conflicts related to womanhood and class, it is quietly masterful.

The movie is not without some small pleasures...but neither character is developed beyond broad characteristics, in spite of them occupying 95% of the film's taxing two-hour running time.

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

The comedy is as broad as it could be, knee-deep in political incorrectness and bad taste. But as ever with Cohen, it's fueled by such imagination and daft abandon that what ought to be offensive becomes hilarious.

As is often the case with such violence, it eventually becomes numbing. By its midpoint, once the novelty of a superhero movie showing super levels of violence wears off, the thinness and lack of spark in the fight scenes becomes more readily apparent. By the film's end, they are hard to distinguish from any other superhero fare. Similarly, lack of imagination keep the film's prodigious swearing and occasional nudity from feeling like anything original.

The Coens get their cake and eat it, too: The lavish period details, paired with marvelous song-and-dance routines, work on their own terms while a firm self-awareness looms over every scene. It's a tricky balance indicative of directors who know exactly what they're going for: An old-fashioned homage to classic Hollywood and a send-up of the very same thing.

Bizarre and challenging when it's not outright goofy, Wiener-Dog never feels remotely compromised. Somehow hilarious and gloomy at the same time, it represents a big middle finger to anyone who wishes Solondz would lighten up.

The filmmakers have instead provided a brilliant window into the impact of the contemporary media circus on public life. While not exactly a figure of sympathy — he lied, after all, more than once — Weiner nevertheless maintains the charisma and drive to provide the movie with one of the most compelling anti-heroes in recent memory.

Under the Shadow smartly observes the emotions stirred up by a world defined by restrictions, and the terrifying possibility that they might be inescapable.

While a bit too enamored of the foreshadowing built into its premise, Tanne's impeccably acted two-hander examines the Obamas through an infectious, talky script loaded with keen observations, not unlike the appeal of its subjects.

Compelling in a larger sense even when lingers it on its goofier ingredients (the scenes where the pair stage the moon landing drag a bit), Operation Avalanche generally manages to make its outrageous premise stick.

The climax feels a bit under-realized, but never less than genuine. More than anything else, Morris From America excels at conveying the inherent power of companionship in a largely indifferent world.

Herzog acolytes will find the usual dose of eccentric musings; others may find it alternately perplexing and thoughtful when not hijacked by Herzog's intrusive remarks. But one thing is certain: You've never seen the internet discussed like this.

Sheil is an ideal vessel for the film's inquisitive style.

Goat scrutinizes an aspect of American culture often relegated to punchlines and magnifies the darker reality beneath.

At every turn, the movie casts a haunting spell.

An expertly crafted noir-like depiction of Chubbuck's descent into psychological duress, Campos' grim character study makes up for an occasionally stifling icy tone with a stunning lead performance by Hall.