The Last Suit has its narrative flaws and leaps of faith. But the sheer force of its central character’s untethered voyage of discovery – and the acting behind it - overcomes all.

This is a tremendous underdog story, and it works because Holmes shows a viewer exactly who LeMond is and why he was so popular — then as now.

If you’re yearning for a Western with a vintage feel, and a touch of mythos, writer/director Potsy Ponciroli’s homage to the genre, Old Henry will nicely fill that bill.

This is not art, it’s not brooding, it doesn’t offer any relevant commentary, it’s not even a refreshingly feminist take on an overtly masculine saturated movie-industry. It’s a loud, sometimes disjointed, mildly convoluted, ultra-violent comic-book adventure that moves at a break-neck speed. And, if you stick with it, it’s loads of fun.

This visual memoir paints a picture of a woman who, while leading a rich professional life, was plagued by personal demons.

The Traitor is a pleasure to watch. Working with cinematographer Vladan Radovic, Bellocchio blends sweeping camera work and flurries of action with painterly lighting and often ironic musical cues. The story itself is somewhat over-stuffed — the time-jumping narrative (Bellochio and three other writers are credited) and an onscreen counter of murder victims — but this is still a welcome chance to see a great old school European auteur at work.

Sometimes the story isn’t so much the thing. It’s the way the story is told that delivers the goods.

The result is a film that is presented as a kind of a fable, and a microcosm of a country whose fortunes once depended on oil.

A compact drama with outsize emotional heft, The Assistant is propelled as much by what it doesn’t show as what it does.

Still, as a premise it’s irresistible. And Megan Park’s funny and touching My Old Ass brings a fresh twist to a mystically-assisted two-way generational life lesson that, in the movies, has usually involved switching bodies.

Hustle may not surprise you, but that doesn’t detract from its charm. There are mountains for the characters to climb, a sense of connection to others, and other ideas that feel especially rewarding right now.

Strange Darling is a thriller structured as a complex series of surprises. Writing anything much about the story runs the risk of spoiling some of those surprises, so this will be a short review. Go and see it.

If you’ve seen enough of the studio’s movies, even something this full of imagination suffers from some predictability. There is a period in Soul, where, in spite of the lovely creativity and goofy story-telling, it lags and feels a bit listless, before bouncing back.

Director Kyle Patrick Alvarez and screenwriter John Griffin’s Crater is a sweet story about friendship lasting a lifetime but set in the year 2257. Kinda like Stand by Me, but nicer… and in space.

Hanks and young German actress Helena Zengel (Shock System) play off each other faultlessly, with minimal dialogue, relying on gaze, gesture, and tone and we can easily understand how the twice-orphaned Johanna can look into Kidd’s warm, melancholy gaze and recognize a fellow misfit and survivor, accepting him as her protector.

What National Anthem lacks in spectacle it more than makes up for in quiet moments of beauty, tenderness and heartache.

In the end, Nobody 2 is about gratification. The fantasy that the bad guys never stand a chance. That justice is swift, brutal, and delivered without hesitation. It’s not subtle, but then again, subtlety never gets a standing ovation. And maybe, this summer, we need that more than ever.

Spinster adds up to more than the sum of its parts, even if its primary takeaway — a woman doesn’t need a man to be happy and/or successful, yada yada — is hardly ground-breaking.

The film employs a punk-inspired cut-and-paste collages, smashing together footage of police and protestor clashes, rock concerts, television shows and political marches, all annotated with animated handwritten letters, posters, newspaper clippings, and excerpts from RAR’s fanzine, Temporary Hoarding.

Mikkelsen’s affecting performance is backed by an exceptional ensemble cast, who bring to life the fears and emotional scars that come with age, and the part alcohol can play in it, for better or worse.

Are audiences, who are used to having their heroic stories delivered to them in fantastically exciting packages, ready for this reined-in version of the wounded hero? In spite of its flaws, Lowery’s The Green Knight makes a case for a different sort of hero whose time may have come.

There’s fun and excitement in good measure as well, but Rocket’s story brings the audience in closer and in doing so, it enables the other characters’ stories to matter to the audience as well.

Into the Weeds: Dewayne “Lee” Johnson vs. Monsanto Company is a cautionary environmental story, that raises unsettling questions about what’s in the food we eat, and how our farming practices are affecting the biosphere.

Rarely do remakes capture the lightning in the bottle of the source material. But The Guilty does, no doubt in part because screenwriter Nic Pizzolatto, best known for the True Detective series, drafted Gustav Möller, who wrote the original screenplay for and directed the original. Whether a remake was needed remains debatable, but the vision remains intact.

A tale of trauma told, fittingly, with a poker face, Paul Schrader’s The Card Counter is a sure-handed rumination on redemption and finding peace of mind.

Deeper, darker, mordant, with a definite horror movie vibe, it is what you might expect from del Toro, a filmmaker who gave us Pan’s Labyrinth – essentially a dark fairy-tale wrapped in real-world fascism, as this is as well.

The Farewell isn’t tour de force filmmaking. It doesn’t have to be. In telling her own story, or something close to it, Wang has managed to stand far enough back to see the crazy wonderful way in which a family dynamic — full of strange and wonderful ideas about how to live life uplifts us — and has delivered a gentle little gem.

It takes incredible talent to make something this spare work. The Mastermind is the kind of high-wire act that only someone as gifted as Reichardt could pull off.