The Cold Lands is less a story than an experience, and that, as such, anything one might say about it could be considered a spoiler.

Megan Leavey is that rare breed: a war movie that actually shows something new about war, a sub-culture within a familiar sub-culture, the world of the military's K-9 units. For that alone, it should be applauded.

Coppola's approach to the subject is largely impartial; depending on the viewer, this can seem refreshing or off-putting.

To reveal too many details of this “Law & Order” meets “Jurassic Park” procedural, especially what eventually happens to Sue, sort of dilutes the thriller aspect of the story. I suggest resisting the urge to Google if you plan to see the doc. I did and was glad to be in the dark.

The Report is also surprisingly free of tension, given the subject matter; if you’re going to experience any anxiety, it’ll probably come from a sense of worry over whether all of this is going to be on the final exam.

No filmed footage could replicate the experience of watching “Bronx Gothic” live, but documentarian Andrew Rossi does an admirable job of channeling its power in his movie of the same name.

Unfortunately, for this viewer, the formal constraint foisted upon him by writer/director Jeremy Rush in Wheelman went right up his nose and stayed there, resulting in a little less than 90 minutes of annoyance.

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances.

Writer/director Chad Archibald still shows some promise here, especially whenever he lets his actors, cinematographer, makeup, creature, and production designer sell what is, at heart, a generic possession story. He thankfully does this often enough to keep the plot’s familiar and slowly dispensed beats from feeling too rote.

A documentary that wants to appear inventive but too often comes off as affected, directed by Jeffrey McHale.

Though undoubtedly a flawed enterprise, After Love is a formal wonder, due to the efforts of Lafosse, photographer Jean-François Hensgens, and production designer Olivier Radot.

The Midwife eventually devolves into a blandly sentimental register in its second half, which prominently features two mediocre subplots: the cute, but dull romance featuring Olivier Gourmet (“The Son”) and a half-hearted critique of techno-capitalism in the medical field.

It is fascinating the way this movie works so well as a police thriller on one level, while on other levels it probes feelings we may keep secret even from ourselves.

At least with its wide scope, Maya Angelou and Still I Rise shows that her time on Earth was about more than being an author, poet, civil rights activist, a mother, a dancer, a singer, a film director, producer, journalist and much more. Her life was poetry itself.

The Forger is constantly wrestling with its comedic impulses and the gravity of its time.

Crimson Peak's atmosphere crackles with sexual passion and dark secrets. There are a couple of monsters (supernatural and human), but the gigantic emotions are the most terrifying thing onscreen.

Cyrano gets the big things right, and Dinklage embodies it all.

It’s Mortensen and his smokes that seal the deal. Puffing away, he is dangerously sexy and morally dubious, the latter of which makes perfect sense as we are in Patricia Highsmith territory.

A Woman, a Part mixes passion and ambivalence to create a work with ambiguities that seem earned, and lived in.

Every few seconds there's an image that delights for delight's sake.

Cornish's gift for working with child actors is still apparent, as is his knack for dynamic action set pieces. The Kid Who Would Be King is not, in that sense, everything that it could have been. But it is fun where it counts and that's realistically what matters most.

Because Users is so captivating from a technical perspective, it’s frustrating to discover how scattered it is narratively.

It's a study in deception, and as told by filmmaker Alex Gibney ("Enron: The Smartest Guys in the Room"), it's a disturbing and sad one.

Hooper’s latest is tasteful and restrained to a fault. It is easier to admire than love.

This is one of the best surprises of a still-young movie year: a comedy that takes nothing seriously except fun.

A sex comedy that just lays there and expects you to do all the work. Gordon-Levitt's direction is repetitive and dry, and his screenplay is a collage of badly cut out pieces from other movies.

Even if it’s all a bit too tidy, this documentary about Kaepernick is valuable for reminding viewers how far we still have to go.

As played by Renée Zellweger, this Judy is painfully and visibly anxious. Or, perhaps this is her idea of drug-induced twitching. Either way, there are spots in the movie where Zellweger’s affected manners become too distracting and overshadow everything else around her.