But Nobody uses its boundaries as an asset. This giddy approach to action in place of story has held appeal ever since Wiley E. Coyote chased the Road Runner off a cliff, and Nobody lingers in a ludicrous plane that works in bite-sized pieces.

With the exception of a few candid moments featuring James at home, Knuckle isn't particularly well-made, but there's an inherently fascinating quality to the material.

If 20 Days in Mariupol is about anything, it’s how much destruction can be done in such a short time.

The result is an entertaining and insightful mashup of tropes, both respectful of what came before and willing to try new tricks. Being a weirdo, it seems, has never gone out of fashion, but now it has a different kind of future to conjure up.

The plight of the alienated monkey is at turns absurd and genuinely bittersweet, not to mention a whole lot better than its premise might suggest.

United States vs. Reality Winner is less expose than repudiation of a system that lacks the humanity to address the subtleties of her case.

Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.

It’s an obvious but enjoyable period piece — and a throwback to another era of Hollywood filmmaking, resurrected in the 21st century with two of the best actors working today, who elevate this didactic form of storytelling above the market standard for schmaltz.

Matsoukas’ fast and furious filmmaking doesn’t always click, but it always crackles with purpose, refashioning the lovers-on-the-lam trope into an emotional black-lives-matter lament, and it deserves to be met on those terms.

The Feeling That the Time for Doing Something Has Passed lacks for drama in its portrayal of the quotidian realities of sexual kink, but Arnow’s voice is distinctive, shrewd, and spiky enough to keep it afloat.

The Innocents is a film about childhood as much as it is about murder, sharing as much DNA with “Boyhood” as it does “The Bad Seed.” Specifically, it’s a film about contemporary childhood and, in a dangerous world that forces kids to grow up faster and faster, whether innocence is even still possible

The film often feels as impossible to definitively grasp as the coveted furniture that it follows — but whether that’s a feature or a bug lies in the eye of the beholder.

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.

There’s nothing especially revelatory about the scenes where Anette sits in the country home that now feels more like a prison, wondering how her life got to the point . . . But her response to said feminine mystique is demented enough to make this a wild and satisfying ride.

Where The Covenant most shines is in the riveting intensity of both its performances and its action.

D’Apolito covers a staggering amount of ground here, much of that possible because of Lewis’ special brand of candor.

There are plenty of plot devices to keep the audience on its toes, and Reynor is the epitome of a 21st century lovable antihero, so fashionable these days. He’s hard and grizzled when needed, but soft and playful as well.

Even if Wolfs is a light affair in the end, it’s a smashing good time, confidently told and unpredictable, with two charismatic leading turns that are nearly even upstaged by Abrams.

Mockler transforms the material into a solid thriller with an edgy vision of millennial lunacy, sketching out a psychopath unique to the viral video age.

As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.

While the pace is spotty and not every joke lands, “Good Boys” manages to be adorable and twisted at the same time.

This is an important and compulsively watchable portrait made by someone who understands the brute power of broadcast media and the people who make it for all the world to see, but it can only afford Mike Wallace with a little moment of truth, and the satisfaction of playing his part in the greater continuum of things.

No matter how contrived or hackneyed things get, Buckley’s voice always breaks through the clouds like some kind of divine revelation. And that voice only gets more powerful when Wild Rose finally gives it something to say.

Another World succeeds in captivating on the sheer strength of its caustic tone, which offers a sustained performance of ice-cold contempt quite unlike anything Brizé has tried before.

Stevenson’s spin on The Omen can tie its borderline NC-17 terror to a multi-decade genre legacy suddenly feasting on noticeably improved visual artistry and a narratively satisfying revamp of stale IP.

Fans of the director’s late-period work (particularly his last completed effort, the rapid-fire diary film “F for Fake”) will find it thrilling to return to those unpredictable, garrulous recesses, no matter the bumpy ride. Welles continues to contemplate storytelling, Hollywood, and his own troubled career by transforming these obsessions into a marathon of creativity.

Boundaries breaks no fresh ground and sags into conventional story beats on autopilot, but it’s rewarding enough to hang with these characters and roll with their mudslinging.

A loose, caustic look at the Vietnam war through the prism of black experiences, Da 5 Bloods wrestles with the specter of the past through the lens of a very confusing present, and settles into a fascinated jumble as messy and complicated as the world surrounding its release.