A documentary whose strengths and weaknesses all too perfectly reflect the nature of the crisis at its core — a crisis that stems from a vast confluence of geopolitical issues, but expresses itself through the siloed misery of loneliness and longing.

True stories about brave, everyday people fighting evil powers never go out of fashion, and “A Call to Spy” joins their ranks with ease.

For all the texture of the film, which was shot in and around a New York City vibrantly retrofitted to the story’s 1998-set specifications (costumes, music, locations, the whole kit), the hammy way important beats and plot points are served up feels out of step. It doesn’t pop, at least until the film’s final act, which finally brings together Aronofsky’s disparate parts and shows an inkling of what the filmmaker was attempting to capture.

Unexpected doesn't take such a rosy approach to its conclusion, however, preferring to leave things more up in the air, a narrative choice that is more contemporary in its telling and more genuine in its feel.

When Operation Mincemeat slows down enough to see into those shadows — when the film slows down enough to leverage the fictions its characters invent for the Nazis against the ones they invent for themselves — it finds a hidden war that’s worth fighting to the end.

While each flashback gets more and more grating, Line Renaud’s charm makes the present an increasingly welcoming place to return to.

Ron’s Gone Wrong has enough ideas about our current relationship with technology and social media to bring about important conversations between parents and teens that are more than just “phones are bad,” while delivering a charming and at times laugh-out-loud funny story about a boy and his robot computer friend.

Carousel feels ripped from the fabric of a million lives. Don’t let the seemingly small nature of the film fool you; there is career-best work here, especially from Pine, who was always made for a romantic drama. This one was worth the wait.

It's almost enough to make you wish that Kokidas and co-writer Austin Bunn had fictionalized the story. But then again, a beardless Ginsberg isn't really Ginsberg at all, which gives Radcliffe all the room to play around with the character that he needs. It might be best spell yet.

Chock-full of popcorn nostalgia and fan favorite characters and villains and power moves exactly like what any fan of the long-running saga is looking for.

While not aspiring to the heights of the texts underscoring his work, Piñero displays a daring formalism that transcends its many inspirations to find its own unique rhythms.

Things grow slacker and a touch sillier by its middle act, which both does away with big problems and introduces entire new ones in their place. Still, Condor remains such a genuinely adorable leading lady and Lara Jean such a special character that fans will undoubtedly embrace the messy ride.

For anyone frustrated with countless formulaic exercises that drain modern horror of fresh ideas, Tucker & Dale is a downright cathartic indictment that encourages comparison to the "Scary Movie" franchise. It's mostly a smart spoof that looks awfully dumb for a reason.

The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.

While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.

Ultimately, Saving Mr Banks is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating that all problems - however psychologically deep-rooted - can be overcome.

Aside from the thrill of its lavish sets and costumes, there isn’t much new to offer in this Beauty and the Beast.

"The Book of Solutions" is — first and foremost — a high-energy ode to the joys of being possessed by a creative spirit, and the pleasure that Gondry takes in telling a plot-light story that’s driven by pure invention is both palpable and contagious.

Selena y Los Dinos is no mere tribute, it is a vibrant argument for Selena’s humanity, as well as her status as a legend.

In Unidentified, women are good, women are bad, and women are everything in between. In a society where a woman’s death can easily go unnoticed, this film makes sure the audience pays attention.

Even if 1001 Grams isn't Hamer's best, it sees the director's enjoyable style come into full form.

Just as this series focuses on survival instincts, it seems that Scott has found a way to exercise his own, keeping the “Alien” series relevant by resurrecting the same old scares.

There’s sadness and beauty in every frame.

Director Annie Silverstein doesn’t elevate these conventions to new heights, but understands their potential well enough to craft an absorbing window into marginalized lives.

Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.

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.

Sponge on the Run sprints by too fast to dwell on the moments when it runs out of breath, and the mad science that Hillenburg first experimented with on “Rocko’s Modern Life” still draws from such a textured palette of sweet insanity that you can’t help but keep watching.

A confident, entertaining, and well-upholstered historical spy thriller about a regular guy who stumbles his way toward saving the world, it’s the perfect movie for anyone who watched “Bridge of Spies” and thought: “If only that had been 30 minutes shorter, a bit less artful, and a lot more British.”