The recent trend in political documentaries is for filmmakers to heap ridicule and sarcasm on people they don't agree with, a la Michael Moore. Waiting for Armageddon (which has nothing to do with the 1998 Michael Bay movie) demonstrates that sometimes it's far more devastating to simply point the camera at your subjects and let them talk.

Fairly entertaining, if hardly surprising, results.

Misleadingly billed as a Fallujah documentary, Occupation: Dreamland covers a six-week period when not much was happening there.

Though dated and unsophisticated compared to the much cooler Bourne spy thrillers, M:i:III will probably hit the sweet spot at the box-office - and give Cruise a whole new reason to start jumping on couches.

A fascinating history of how blowing yourself up became a popular hobby in the Muslim world.

If the plot of the Argentine soaper Puzzle seems familiar, that's because it's nearly identical to the story in the French movie "Queen To Play."

As a work of historical documentation, The Source suffers from Workman's wholly celebratory take on the movement.

Engaging in a soap operatic, rather glib way.

If you ever wondered how robots make love, here's your chance to find out.

The new film's strongest point is the assured performance by Schubert, who's in nearly every frame. Elegant cinematography by Martin Gschlacht, one of Austria's most sought-after lensers, gives Breathing added depth.

If you’ve got comics-movie fatigue, with frequent fourth-wall breaks to point out lazy writing, blatant foreshadowing or heavy reliance on CGI for fight scenes, Deadpool 2 is here for you. That doesn’t mean those things aren’t there (they are) — but the eagerness of Deadpool to call out its own shortcomings earns this trash-talking franchise a lot of goodwill.

Here’s what’s smart about director Gavin O’Connor’s film: Although a lot of movies about addiction fixate on the agonizing and physically punishing withdrawal process, this one doesn’t.

The promising satire then shifts to a typical thriller with bloody shoot-outs, druggings, tazings and a car dramatically plummeting off a cliff. That business wears thin fast. I Care a Lot is almost two separate films, and I much prefer the first one.

The Infiltrator satisfyingly builds to an improbable but ripped-from-the-headlines climax.

Bouncy vocal rearrangements of pop songs, sparkling choreography and a hilarious script make for a movie that's made to be obsessed over, seen 50 times, quoted as devoutly as such sacred texts as "Heathers" and "Bring It On."

This “Poppins” sequel has an entirely new score, with exactly none of the cherished songs from the great Julie Andrews movie. Once you accept that, you can move on — and enjoy the countless other joys this follow-up has to offer. It will be a jolly-er holiday with Mary Poppins Returns.

Hard Goodbyes could easily have been maudlin, but isn't. Credit an adult script and realistic acting, especially by Giorgos Karayannis as Elias.

This is the third feature by the three gifted stars, who deftly pull off hilarious, nearly wordless slapstick routines reminiscent of Jacques Tati, Buster Keaton and Jerry Lewis.

Nostalgia is a prime factor, yes, but the story is legitimately engrossing this time, however recycled it may be, rather than a lazy stack of trumpeted entrances and exits and half-witty asides that marred the 2019 and 2022 films.

Tender, heartfelt and exquisitely dull, the drama Félix and Meira illustrates the perils of trying to tell an emotional love story with meaningful stares and long pauses.

Vivo is a heartfelt piece with catchy songs and a much more cohesive plot than Miranda’s Moana, which gets tangled midway through. Sure it could do with a touch more depth, but in the kids movie genre, you could do a lot worse.

The film makes little sense (the couple refuses to ride subways, but Metro-North is OK), but it's a diverting conversation piece/freak show.

Bloody horror flicks need not be anemic when it comes to intelligence. The victims of You’re Next, as well as their slaughterers, are reasonably smart and resourceful. Their clash may not be as nasty as the battles of academia, but there’s a lot more common sense involved.

The film by Yasuhiro Yoshiura suffers from many of the same flaws as other anime features — a plodding pace, broad humor, a bland heroine and snarly, one-dimensional villains.

Kekilli delivers a perfectly tuned performance. Too bad the script is often clunky and melodramatic, as the first-time director, Vienna-born Feo Aladag, tries to manipulate viewers' emotions.

A moving documentary about poetry inspired by combat.

Hope Springs could have been unbearably schmaltzy or crude. Instead, in the hands of these expert actors and filmmakers, it's a warm and wryly affecting mid-summer treat.

I won't reveal the twist -- but the marketing crew is aware that their only chance of selling this non-mind-blowing documentary about the people you might meet on Facebook is by promising a big surprise.