The Young Wife can be a chaotic experience, but Poe has the skills to carry us through the noise and toward the future.

There’s an innocence to this premise that lends freshness to every vulgar turn.

The sheer banality of Angela’s cat-and-mouse game against the corporate assassins on her trail is chilling enough to compensate for the movie’s limited scope, and Soderbergh creates such a vivid sense of plein air claustrophobia — of being caught in a net as wide as a wifi signal — that he can stage an intense action set piece in a public/private space as small as the back seat of a van.

Union County doesn’t completely bypass addiction-drama clichés. But its detailed, humanistic approach successfully creates a realistic world that supports its muted storytelling

[A] warm and heartfelt documentary.

While the movie runs too long and the message grows thin, it’s a sturdy window into the corruption of the judicial process that can send an innocent black man to death row.

The gradual transformation of an innocent child into an accessory to violence, forced to become increasingly pragmatic and cold along the way, is far from a fresh hook this far into the history of crime movies. But Colonna’s film, co-written with Jeanne Herry, is a riveting, moving take on this narrative.

While The 355 might not be the boundary-busting breakthrough it was sold as, it’s something better: a solid spy flick that adds something new to the genre without totally upending it. That’s refreshing in its own way.

Away from the confessions that induce shock and the divulgences that elicit sympathy, Garbus leaves ample space for lengthy sequences of Simone's performances.

This modest recollection is a quiet act of defiance and course correction. “Ghost in the Noonday Sun” may not be worth anyone’s time, but The Ghost of Peter Sellers is another story — and a much better one.

Viewed on its own terms, Running With Beto consolidates the feel-good trajectory of O’Rourke’s run into an engaging package that showcases his galvanizing impact up close.

Fascinating ... Delpy’s ability to believe in both her audience and her wild story remains compelling throughout the film, even as it careens through tropes and tricks and genres with increasingly off-kilter speed.

Being Charlie may not be the definitive cinematic portrait of addiction, but it's the first Rob Reiner movie since "The American President" to palpably convey what it feels like to be anybody.

What makes Mandibules so refreshing is that, just as its anti-heroes don’t care about how they are supposed to behave, Dupieux has an airy disregard for how a chase thriller or a horror movie is supposed to proceed.

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.

The filmmakers illustrate that governmental power is a fickle thing, prone to exploitation and good will alike, depending on who decides to pursue its offices.

The threat of violence hangs over even the most quiet of moments, and — some shoddy CGI animals aside — the film’s grip on that disturbing undercurrent is convincing throughout. That’s why the ending works so well, an abrupt climax that’s darkly poetic and anything but normal.

While much of what Swale has crafted here is familiar, the film’s loving tone and Arterton’s compelling performance recommend it, and the result is a warm drama never afraid of a little magic.

As Sebastian Silva wrestles with several different kinds of movies, the child’s perspective fuses them together, and the movie becomes a startling representation of a society collapsing into chaos.

The ’80s-esque sensibilities and sweet quips, rivaled only by fellow Netflix film “To All the Boys I’ve Loved,” make “YASNITMBM” an easily watchable treat for the entire family. Cohen, who previously directed the Hulu feature “Crush,” and once again proves her bonafides when it comes to translating the pains and pleasures of coming of age to the screen.

The result is an uneven drama with genuine intellectual heft that often outshines its flaws.

The film’s honesty, whether loquacious or laconic, sears even more in the absence of a score. Its observational ethos is remarkable given that it is quasi-autobiographical.

While this film definitely does not gain points for female empowerment, it can still be fun for kids with toy soldiers coming to life, a shrinking machine and a multitude of Mother Goose characters, including Little Bo-Peep and Willie Winkie.

The internet is the closest thing these teenage cyberthieves have to a real life, and Corrigan’s dopamine onslaught of a film is an authentic portrait of the most alive they’ve ever been.

Less cohesive documentary than feature-length red flag, The Bleeding Edge assembles a range of talking heads and upsetting case studies to target several key villains.

There’s no selling out here. No concessions to mainstream taste. On the contrary, The Real Thing might be the purest — if not the most concise — work yet from an emerging auteur who’s singularly compelled by the friction between public order and private chaos.

There’s a fine line between watching someone toil and feeling as though you’re toiling yourself, of course, and “Makala” doesn’t always land on the right side of it. It can be edifying at times to watch this, as the film is clearly a labor of love — even if the actual work depicted is not.

Rather than a spirited diatribe about the need to step away from our desks and live life, it’s a thoughtful little comedy about how those soul-crushing hours in the office have the unintended benefit of giving us a personal life that’s worth missing.