Catnip for comedy nerds and psychoanalysts, "Jim & Andy" works as both a vibrant raising-of-the-dead for the crazed, showbiz-piercing genius that was Kaufman — there's plenty of footage from his performance-art career — and a peek into the mind of a massively talented, box office-busting comedy star at a self-doubting, turbulent time in his life

It's a serviceable animated movie appropriate for the season, but there's nothing beyond its source material that marks it as particularly unique or special.

Though the film is completely worth seeing just to experience such a totally realized performance and hear Gilroy's always sharp dialogue, the reality and complexity of the character turns out to clash with plotting that is not as convincing.

To a degree that is both formally impressive and politically astute, Rees and her co-writer, Virgil Williams, have largely retained the symphonic, almost Faulknerian structure of multiple narrators that governed Jordan’s story. The radicalism of Mudbound thus lies in its inherently democratic sensibility, its humble, unapologetic insistence on granting its black and white characters the same moral and dramatic weight.

Kalhor's concise if low-key narration helps the story's many facts and facets unfold with clarity and context. Ultimately, though, it's the stranger-than-fiction nature of this eye-opening tale that makes the film so vital and involving.

A seriously satisfying superhero movie, one that, rife with lines like "the stench of your fear is making my soldiers hungry," actually feels like the earnest comic books of our squandered youth.

Art Show Bingo might be sweet, but it's dramatically inert.

We all like to imagine ourselves as brave resisters. Pomsel's unapologetic account of being "one of the cowards" is a haunting, ever-timely reminder of how easy it can be to cash the paycheck and look the other way.

As unpleasant and inert as its protagonist, "Amanda & Jack Go Glamping" is a romantic comedy that lacks both love and laughs — and likable characters.

While Mrs. Brady gets to cut loose, the weakly written supporting characters aren't as lucky, given precious little to say and even less to do other than attempt to hold their own in the face of pacing that's slower'n molasses.

Even at its most serious and sophisticated, it retains the pleasingly funky aroma of pulp.

While this tenure-challenged Middle Eastern studies professor is hardly pleasant cinematic company, it's tough to look away.

No Greater Love may leave viewers emotionally wrecked, but they’ll emerge with additional respect and gratitude for the soldiers’ sacrifice.

For the most part this is an engaging refresher course in what fighting the power looks like.

Morgan’s arch script about the doomed love lives of the young, rich and idle in L.A. is at times a Whit Stillman-esque social satire. There’s a whiff of a whip-smart, acid-tongued Jane Austen heroine in Annette, but she’s lacking an essential ingredient: empathy.

It’s the glimmers of penetrating observation that make the overload of clichés so frustrating in Onah’s first feature, and suggest better things for his second.

While Lynch has experience delivering breezy action, “breezy” can shade into “frivolous” — or even “forgettable.” As good as Yeun and Weaving are, there’s not a lot here that hasn’t been done

As brainy, vital and captivating as its eponymous star, the documentary Bill Nye: Science Guy should warm the hearts and minds of science lovers, weather enthusiasts, environmental watchdogs and astronomy buffs, all while inspiring viewers to ask questions and seek answers.

If the movie’s form is a rich weave of grotty realism and soulful musical, the story itself is remarkably simple.

Gilbert emerges as a tenderly observed, remarkably insightful keeper.

It’s a masterful effort.

You can’t encapsulate the horrors of the Holocaust in 80 minutes, but what the 12 interviewed survivors accomplish in the documentary Destination Unknown is nevertheless a vivid portrait of genocide put into practice, and its everlasting effects on the living.

Overlong yet alluring.

In the hands of uncommon writer-director Martin McDonagh and a splendid cast toplined by Frances McDormand in what could be the role of her rich and varied career, the how and why of those billboards becomes a savage film, even a dangerous one, the blackest take-no-prisoners farce in quite some time.

As cinema or literature, Murder on the Orient Express may be little more than a clever parlor trick. But in its final moments, even this overstuffed, underachieved movie offers a morally unsettling reminder that — with apologies to Chandler — the art of murder isn’t always as simple as it appears.

An excess of levity can quickly become its own kind of leadenness, and for long stretches between its genuinely amusing gags and set pieces, Thor: Ragnarok, credited to the screenwriting trio of Eric Pearson, Craig Kyle and Christopher Yost, is a bit too taken with its own breezy irreverence to realize when it’s time to rein it in.

What director-editor Robyn Symon's entertaining documentary lacks in polish it makes up for with its uniquely charismatic lead subject and her stranger-than-fiction tale.

Director Alison Eastwood ("Rails & Ties"), despite an evident affinity for the material, takes an overly stagy approach to the scenes, when a more lyrical, atmospheric style was in order.