It's as enthusiastic yet inscrutable as Wonka himself, played with an elegantly withholding quality by Chalamet, who in moments of quiet contemplation and madcap inspiration could be Gene Wilder's long-lost grandchild.

Far from feeling like a eulogy, the tone of 306 Hollywood is magnificently playful.

It’s not surprising that Truth takes the perspective that it does — you don’t cast Cate Blanchett and Robert Redford as Mapes and Rather and not expect the film to side with them.

Played by Matthias Schoenaerts, Vincent is a tormented and inarticulate man, and the riveting center of Alice Winocour's sexy, relentless thriller Disorder.

While the film works as a primer for viewers who are curious about Lear but don’t know the details of his life and work, it’s more interesting as a movie about age and memory.

A good ride for the most part, but not much more than a ride; still, genre fans will be keeping their eye out for whatever Lovering does next, with good reason.

A forlornly funny and emotionally bruising dramedy that rarely misses an opportunity to reveal humans as the flawed and occasionally awful beings that they are.

I suppose the fact that I was affected as I was by Wedding Doll is testimony to its emotional effectiveness. But while Hagit is able to crack a smile at the movie’s end, I feel a pall wrapping around me every time I contemplate her predicament, or the predicament of her real-life models.

Both Reagan lovers and Reagan haters will find enough in the film to bolster their perspectives. Even more remarkably, it’s almost entirely snark-free.

The Road Movie operates on a unique tonal wavelength, one that’s both manic and oddly comforting.

It’s not always clear what the movie is trying to say, but even its misfires are more interesting than most because of what Reeder and her stars bring to their characters.

Even with a shaky conclusion, the swarming warmth of Riegel’s direction and the meditation of her writing results in a film that displays the fleeting, volatile kind of love that forces you to grow - the kind the greatest songs are written about.

Thankfully, it’s Kirby’s performance that makes Pieces of a Woman memorable.

The end result is that particularly crumbly kind of book-to-film adaptation that comes across more like a SparkNotes you can watch, a story told at double-speed with much of its impact missing.

Dumont's characters' motives are consequently hard to divine, despite convincingly twitchy performances from French actors Fabrice Luchini and Juliette Binoche. So while I do recommend Slack Bay, I must warn you: this is a misanthropic comedy that features cannibalism, weird religious overtones, and a lot of goony pratfalls.

Baumbach's adaptation of White Noise unpacks these complex themes with a playful spirit for about 90 minutes before the writer/director arguably loses his grip on the more serious material in the final act. Still, there's more than enough to like here when it comes to the unexpected blend of an author and filmmaker who one wouldn't necessarily consider matches.

While Bloch's emotions and thoughts about the Holocaust and the Israeli occupation are deeply felt, the documentary’s finer points are a little less clear.

Ultimately, “Roofman” is a slick but incurious film that is so preoccupied with showing the what of Manchester’s story that it doesn’t bother to examine the why.

Take away the cameos—in the recording booth, and animated on-screen—and you get something that's a little too close to the same old junk.

Touching on issues of identity, integrity, and grief, “Swan Song” never feels formulaic due to the complex, committed performances of its stars and the thoughtful exploration of the issues it raises.

The film takes only a moment to discuss the success of its source material. In fact, it is only at the end of the movie that "Desperate Souls" reveals that "Midnight Cowboy" won three Academy Awards: Best Picture, Best Director, and Best Adapted Screenplay. Instead, the documentary spends too much time looking at the world around Schlesinger's drama.

The Integrity of Joseph Chambers is a reasonably well-constructed non-hero’s journey that may resonate with you if you’re not already sick of movies set on anatomizing the Crisis of White Masculinity in These United States. This reviewer finds the topic tiresome, tiring, aesthetically unappealing, and banal.

The movie’s fun, if a bit staid, when it’s in all-monsters-attack mode, but Ultraman: Rising doesn’t stand out whenever it requires more of your attention.

It’s a relatively concise, no-nonsense, short (100 minutes) comedy that reminds us that even when we think we’re playing the game, the opponent has a different rulebook.

A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never quite manages to turn that particular corner.

It spends too much time in some of its beats—there’s a stronger, tighter version that’s more disquieting by not wearing out its welcome at 100 minutes—and a couple of loud jump scares are misplaced in a film that generally avoids that crutch, but this is a major debut from a filmmaker who is willing to tell horror stories in a way that's both different for the genre and yet also like something we’ve all experienced before.

The Archies celebrates its protagonists’ character-defining youth by letting them be cute, doofy, and mostly self-absorbed.

Breaking is a tragedy that only opens like a thriller. From the beginning, Breaking is about justice.