Cinéma vérité all the way, a classic fly-on-the-wall documentary that follows Bannon for about a year as he flies hither and yon on private jets, taking meetings, bolstering supporters and attempting to turn his brand of fervent nationalism into a global movement.

Whether this iteration of Dumbo is a good experience for you will depend on your tolerance for the familiar and the sentimental, and the joy you take in what is visually striking and beautiful.

Though the commentary is incisive, the film’s loose structure often leaves the viewer feeling adrift watching a bunch of beautiful teens bicker and get busy. But if you can stick around long enough, Slut in a Good Way pulls through with the love story and the message, to boot.

No Alternative is rambling, but never aimless. It’s the work of an artist meticulously recreating his past, while wishing fervently he could change it.

This is a comedy whose laughs seem to arise as much from the silly, sun-drenched atmosphere as from individual gags, and whose pleasures can feel as sweet and impermanent as marijuana smoke.

The two sides of A Vigilante are ultimately held together by Wilde’s ferocious performance — which swings between steely control and eruptive emotion — and by the way Dagger-Nickson frames nearly every moment from Sadie’s perspective.

In order to make the situation more universal and existential, Raschid keeps the issues and stakes so vague that there’s no way for the characters or story to develop. The film, like its title location, becomes just another featureless box, designed to agitate and confound anyone who enters.

But while both bands would go to court to sever ties with the man they once affectionately referred to as Big Poppa, it’s what happened after they bid “Bye Bye Bye” to Pearlman that makes Aaron Kunkel’s documentary so compelling.

Remarkably, the new Netflix movie takes the same pathetic approach. It’s as if the film arrived to the streaming service in a bubble, unaware that the culture has moved on and that Netflix is brimming with content written, directed and starring strong women. In this horribly timed release, the debasement of multiple women is supposed to be all in fun — and funny, because The Crüe is having a good time and it’s rock ’n’ roll, baby!

One of the reasons An Elephant Sitting Still is so absorbing is that it has the advantage of duration, a willingness to linger in moments of silence and stillness. Paradoxically, as a result, it moves far more swiftly than you might expect.

Although the often humorous film may not quite rank among Chen’s best and that CGI-enhanced feline isn’t always convincingly up to scratch, the buoyant yarn nevertheless casts a beguiling spell.

Considering the amount of such material Welles left behind — sketches, drawings and paintings from his formative childhood travels through decades in movies — it makes for a tantalizing reappraisal sure to appeal to even the most knowledgeable Welles enthusiast.

This magical, erotic, disco-tinged horror-thriller is like cinematic candy.

A short-film director making his feature debut, Maras has settled on a strategy that combines harrowing re-creations with largely conventional character development to good effect.

It’s a compelling thesis, though predicated less on supporting arguments than on dramatic feints and hallucinations, on scenes that either evaporate like smoke or strand the viewer in a thick cloud of metaphor. Sunset is maddening and mesmerizing.

The chance to view so many gorgeous, majestic tigers up close and personal is alone enough to recommend Ross Kauffman’s fine documentary Tigerland. That it’s also a stirring look at efforts to protect this dwindling big cat population makes it essential viewing for lovers of animals, nature and exotic adventure.

Dragged Across Concrete has been made with enough skill and moody, meticulous craftsmanship — another Zahler signature — to earn its own measure of tolerance, or at least some closer scrutiny.

This is a moving documentary that treats its subjects with the dignity and respect they don’t always get but certainly deserve.

The plodding Out of Blue isn’t out of ideas — just out of gas.

In Captive State aliens have taken over the world (as they will), but it’s the viewers stuck watching this messy, lugubrious sci-fi thriller who may feel like the ones being held captive.

Writer-director Mark Murphy has made the fun-house version of beloved big-screen Britcoms, with a particular nod to the classic Four Weddings and a Funeral, but none of the grace. His script, written with Sabrina Lepage, is the cinematic equivalent of lad lit, and it lacks the depth of the genre’s best from authors like Nick Hornby.

The Inventor becomes less an exposé of white-collar crime than a study in the power of self-delusion and corporate megalomania. Gibney’s methods are simple but often brutally effective.

Marked by stunning locations and Jakub Bejnarowicz’s fleet, evocative cinematography, Iceman is almost like something unearthed itself: a recognizable B western sharpened as much by its glints of psychology as by its kinetic savagery.

Its dizzying strength is as a visceral journey, a detour from the privileged freedom represented by a horizon to the tragic limbo of displacement, an ocean that’s both a confinement and an abyss.

The focus of The Aftermath is in all the wrong places, spending time with characters in which we are unable to gain an emotional foothold. This misplaced attention makes for an erotic drama that feels cold, and a political thriller that feels empty.

Highwaymen captures, through the eyes of common people, the perceived rebel spirit that made the couple folk heroes during the Great Depression. It establishes through wardrobe and production design how rough that era was. It’s not just a setting; it’s a grim and desperate worldview.

The cast’s rumble and spark are draw enough, but there’s also Chris Menges’ textured urban cinematography and Rosso’s empathetic direction, like neorealism rewired and amplified.

Unfortunately Marryshow, in his various capacities, has neglected to instill his terminally obnoxious character with a vital shred of audience empathy, let alone to provide sufficient comedic beats that would have better engaged his thoughtfully diverse cast.

The issues they confront are not new, yet the stories of their radicalization are engaging, and Miller’s deft editing and objective approach result in a surprisingly intimate and life-affirming film.

Both a stirring sports doc and a rich nonfiction drama, populated by characters who could have stepped out of a Damon Runyon story.

Despite esoteric subject matter, writer-director Kim Nguyen (War Witch) has crafted a smartly entertaining and unexpectedly human film with his financial thriller The Hummingbird Project.

Elba brings care to the film’s performances, period look and musical elements. But the freeze frames, needless voice-over bits and stalled narrative momentum undercut the picture’s potential power and uniqueness.

Imbuing a story like this with issues of grief and trauma can be a good lesson for kids, but it just makes the whole affair that much less splendiferous and that much more solemn.

It’s light on the science and heavy on the action.

As played by It standout Lillis, Nancy is smart, independent and loyal, and it’s easy to see how she’ll charm a new generation of viewers — and hopefully readers.

An enthralling and imperative ode to forgotten heroines for whom monuments haven’t been erected, ¡Las Sandinistas! is simultaneously a wake-up call for Americans to confront their country’s responsibility in the instability across Latin America and the world at large.

Due to the movie’s deliberate lack of narrative arc, thematic stance and clear characterizations (the soldiers feel interchangeable and Logaze’s interview style is weak), we’re never always sure what we’re watching — or why.

It’s a humane, compassionate film, simultaneously full of beauty, sadness and struggle.

The film has the eerie atmosphere and outstanding makeup effects of a good fantasy thriller. But it’s way too choppy to build any tension.

That diffuse focus — and a whimsical tone, bordering on the silly — work against the film. Perhaps the government intervened in this case yet again, making sure Finding Steve McQueen would be too muddled and goofy to be entertaining.

Never Grow Old isn’t a top-shelf western, but it’s thoughtfully made, with something to say about how even in a country that encourages rugged individualism, community matters.

The cystic fibrosis-themed romantic drama Five Feet Apart feels like a real evolution in the sick teen movie genre, because it’s actually a great movie that just happens to be about sick teens, and it doesn’t condescend or try to cheer up anyone.

Fascinating and frequently compelling, The Mustang is a hybrid, the unlikely combination of genres you wouldn’t think go together but are able to coexist thanks to an exceptional leading performance.

Once again, the director draws upon the sketch-comedy gifts he honed on “Key & Peele” to achieve an artful, ruthless balance of horror and hilarity. Us is a tour de force of comic tension and visceral release, a movie that weaponizes our chuckles against us and reminds us that laughing, screaming and thinking are not mutually exclusive pleasures.

While the European locations are picturesque, the cast lacks the chops and charisma to make this collection of killers and thieves imposing. Weight-room-sculpted muscles aside, everyone here comes across like too much of a lightweight — as if they’re just playing pretend.

Anyone who loves Dangerous Liaisons — in any of its iterations — should rush to cue up Lady J, a period romance with a similarly wicked sense of comic melodrama.

The movie welds subtly pointed social commentary onto a straightforward but satisfying narrative of self-discovery.

It almost seems that Moore discovered the film and character and decided she had to play Gloria, the way stage actors take on classic roles. Moore's take brings a new dimension not only to the story but also to her career.

Behrman has crafted a classic high school tale of outsiders finding themselves while looking in, bullied and beaten for daring to “experiment,” to be different. The images are sumptuously saturated and gorgeously crafted, and the soundtrack thrums and whines with anxiety and racing pulse.

Woodsrider is often needlessly opaque about what it’s showing and why. But the sense of calm about the film is oddly relaxing, even when Sadie’s anxious about the melting snow. This is a contemplative portrait of a different way to live.

This film deserves attention for tackling an aspect of the transgender experience that is not often seen on screen, and though it laudably casts a transgender actress, the story is framed through the perspective of a straight cis-woman, Alyssa. Something tells me it would have been much more interesting, and less narratively tortured, as seen through the eyes of Eve.

A dour drama that lacks depth despite all its good intentions.

There’s much to explore and dissect about the intriguing world that directors Michael Palmieri and Donal Mosher spotlight in their documentary The Gospel of Eureka, but the film, strangely flabby at just 73 minutes, leaves us wanting.

A brisk, engaging-enough reminder of why the man’s name is synonymous with press freedom and prizes for the best in reporting.

Absorbing, well-structured and superbly acted.

Transit touchingly illuminates the close bonds that can form within migrant communities, even as it refuses to harbor any illusions about how easily those bonds can be broken.

Triple Frontier is a solid, engrossing genre item with designs on being something more. It doesn’t quite get there but it does well enough along the way to make the journey worth taking.

Watching Danvers’ story play out, complete with boggling plot twists and a scene-stealing friendly feline, is hugely entertaining, and it can’t be over-emphasized how central Larson, about to become the most recognized woman on the planet, is to the enterprise.

Despite Smaller and Smaller Circles being visually proficient, stagy performances fueled by formulaic dialogue do little to steer the film’s narrative.

Director Lior Geller brings an aggressive energy and jittery style to this action movie, but his sketch of a script feels like an all-caps reactive tweet to some news story about MS-13, a real problem in the D.C. area.

As bland as its title, Something is a horror film with few scares and a mystery without answers.

There are grief dramas, and there are wacky family comedies, and there are films about charming screw-ups, but the degree of difficulty for one film to pull off all three at once is incredibly high. The disjointed “Pretty Broken,” written by Jill Remesnyder and directed by Brett Eichenberger, doesn’t clear the bar.

Garrison’s McNeely damns the overlong film; he’s neither a good man nor a good character, someone that we can’t care about or care to watch.

Ultimately coming across more like a bloated, corporate infomercial, Beers of Joy will undoubtedly leave only those who know their ABV (Alcohol by Volume) from their IBU (International Bittering Units) thirsty for more.

As it sputters toward its curtain-exposing conclusion, “Level 16” stays disappointingly thin, both as a dark-future cautionary saga and a genre exercise.

Stray falters in the narrative department but looks good and holds interest.

This feels like two movies for the price of one, but the audience isn’t getting a deal.

The dialogue is often stiff, the action and plotting unlikely, making the romance hard to swallow. The appealing Uddin and Raymonde do generate enough chemistry in their fleeting time together to keep the proposition afloat.

At 44 minutes, This Magnificent Cake may be a long short or a short feature. Either way, it’s an intriguing, disturbing film, utterly unlike American studio animation.

One of the unexpected but welcome things Apollo 11 accomplishes is restoring a sense of how insanely complex the lunar mission was, and how audacious.

Director Ondi Timoner, who co-wrote with Mikko Alanne (based on a screenplay by Bruce Goodrich), has crafted a stylish, evocative, absorbing snapshot of creative expression, artistic ambition, sexuality and eroticism.

While Stewart didn’t live to see the enactment of a new California law last fall that will see the phasing out of the practice already banned elsewhere in the world, his passionate documentary, boasting stirring underwater photography and an equally poignant Jonathan Goldsmith score, speaks urgently on his behalf.

Just as sports mirror society, so do the best sports films not only take us inside games and those who play them but also provide insight into our world and how it works. “Wrestle,” a superb sports documentary, does exactly that.

The early glimmers of something soulful and sobering — rooted in investigative details and detention center realities — ultimately give way to the tired mechanics of give-it-all uplift.

If the process of passing judgment at all fascinates you (and perhaps it goes without saying that it would fascinate a critic), it’s hard to resist The Competition’s extensive breakdown of how one weighs the merits of artistic goals and visions that tend to elude the usual scoring mechanisms.

In 70 short minutes, directors Dennis Scholl and Kareem Tabsch skillfully pack their Miami Beach-centric documentary, The Last Resort, with a wealth of visual, emotional, social, cultural and historical significance.

What makes the extended trip-tastic finale ultimately disappointing is that it remains a resolutely exterior experience, a set of wild but recycled gestures that reminds you just how tedious watching someone else’s LSD high can be.

The tale of a kid whose rebellion is in feeding his knowledge is rousing enough, but it’s to Ejiofor’s credit that he takes care to meaningfully dramatize how the systems around William — social, economic and political — create a perfect storm of obstacles for anyone in a struggling community trying to seed a future.

Self-aware, funny and articulate, blessed with a first-class temperament, Ferencz is front and center telling his own tale, which includes being the key player in what’s been called the biggest murder trial in history.

With a masterful melding of the serious, the comic, the ridiculous and the musical, Woman at War is joyful to experience though difficult to sum up.

Pintilie has a way of nudging the strangeness of her fiction/documentary hybridization so that your engagement isn’t predicated on narrative catharsis, but simply a desire for the continued frankness of it all.

Winning lead performances and some uniquely quirky touches keep this dramedy watchable from start to finish, but an over-reliance on indie film clichés — from the plucky folk-pop soundtrack to the generic “dredging up the past” plot — add up to squandered potential.

2050 has a meaningful subject, but is so dialogue-heavy and incident-light that almost the entire film feels like a pitch for the movie Holt didn’t make.

Over-written dialogue and some stiff acting weigh Devil’s Path down, especially in the early going. But the action sequences are quite good, deriving nervous energy from the inherent risk of any illicit sexual encounter: that being in the wrong place with the wrong person could prove fatal.

Writer-director Roope Olenius (adapting a Neea Viitamäki play) struggles at times to maintain a consistent tone with a film which veers sharply between absurdist comedy and near-horror.

Dryly funny and unsparingly acerbic, The Cannibal Club has one simple point to make about the hypocrisy of the aristocracy … and Parente makes it sharply.

It’s always welcome to see a chiller that builds suspense from ideas and characters — and where the beasts from beyond are almost beside the point.

Twists and turns abound, but they're all smoke and mirrors that ultimately don't add up to anything.

Directed by the gifted but erratic Irish filmmaker Neil Jordan, the movie is thin, rote and silly but, Huppert being Huppert, it’s good for a diabolical chuckle or two.

Beyond its theme of the power of God’s love, Run the Race centers on the importance of forgiveness. Viewers who can overlook its flaws will find value in its message, but those outside its target demo will be unable to see beyond its cinematic sins.

It all adds up to a kaleidoscopic, somewhat random, yet always involving approach to a major concept that, despite the wealth and breadth of Taylor’s offerings here, feels like just the first step in surveying anew where democracy stands — and falls — in our present universe. But what a crucial first step it is.

This is a well-intentioned movie; it's just not a well-made one.

While it’s disappointing as a mystery, Who Killed Cock Robin is effective as the study of a compulsively nosy man who follows his hunches whenever they lead, into some dark places.

This is just another buy-the-numbers POV fright-fest — like the B-movie version of walking through a professional Halloween haunted house.

Thanks to a focus on the setting and emotions of the story, by the time the life-or-death action kicks in, Harcourt and McKenzie have clearly delineated these characters and what they’re facing — bringing Mahy’s words to life.

A surprisingly tender and humorous shuffle down a weighty road.

Perhaps the highs feel so stirring, in part, because they are surrounded by so much conventional din and clatter.

The Lears is a witlessly profane attempt at dark comedy that is beneath the talents of everyone on screen.