Moxie doesn't have the satirical bite of, say, Mean Girls, nor does it have a particularly punk rock energy, but Poehler does an admirable job keeping things moving.

Nearly every scene in Sophie Jones is either meditative or combative in some way, and Barr nails the flickering, shifting, visceral emotions of adolescence.

What’s most rewarding about curator Sam Abbas’ short film collection, Erēmīta (Anthologies), is in how it magnifies the ways in which all of us, regardless of where we live, have become intrinsically connected by the challenges of this unprecedented era.

The documentary's best material, other than the archival stuff, comes in how it flirts with an analysis of Wallace’s musical inspirations like his Jamaican background and what he took from a jazz musician who lived down the street. Sadly, there’s too little of that, and too many rhymes that we’ve heard before.

It's an ambitious family film that will work for all ages, and one that never talks down to its audience while presenting them with an entertaining, thought-provoking story. It also contains some of the most striking imagery Disney has ever produced, dropping its characters in a world that feels both classic and new at the same time.

I admire the intentions behind Cherry. I even admire the Russos' desire to "do one for themselves" after directing so many films in a corporate-driven context. But Cherry warrants a simpler down-and-dirty approach.

The United States vs. Billie Holiday is so misguided that it's hard to know where to start griping about it. It wallows in cruelty, misery, and degradation without providing insight into the historical personages who are so thoughtfully depicted by its cast.

My Zoe dares to lead with its feelings, and that fearlessness provides a striking spectacle itself.

What makes The Vigil so frustrating is that it feels like a product and not a reflection of its subject’s identity crisis.

In a lot of ways, Crisis is a classic example of a movie that wants to be a little bit of everything, only to add up to a much lesser version of something you keep waiting to see.

Even taken simply as a deliberately formless freak-out, the kind that used to turn up regularly back in the heyday of the midnight movie circuit, Tyger Tyger proves to be little more than a tedious bore.

A few sequences of classic T&J comedy aren’t nearly enough to make up for the dull plotting and flat characters in this soulless product, one that will fail equally for adults who grew up on Tom and Jerry, and their kids who have never heard of these characters.

We’re seeing a then-17-year-old Eilish change her style, come into her own and demand control of her image, right down to directing her own music videos. We’re watching the birth of a star, an exhilarating and sometimes excruciating experience.

It’s some of the absolute best work of Hopkins’ lengthy and storied career.

To see him wrestle with his own past, the pressure of a whole country’s dreams, and the relief of making them come true, is occasionally riveting, but it’s also what makes Pelé all the more a missed opportunity for a sharper portrait.

The detached, bemused tone that sustains the film for so long eventually gives way to actual feelings—to its detriment—as this dark comedy steadily turns just plain dark.

An engrossing and frequently extraordinary feature.

Coupled with the talents of cinematographer Ludovica Isidori and music by Rob Rusli, Ford’s Test Pattern is an engrossing human drama, one that examines the intersections and inequalities between race, gender, and healthcare in a poignant and powerful way.

Edward Hall’s new adaptation of Noël Coward’s play Blithe Spirit is so aggressively un-funny it might make audiences unfamiliar with the script's successful track record wonder why it was ever a success in the first place.

A promising but self-thwarting movie like this is more depressing than an outright bad or dumb film.

Though curiously charming, Jumbo behaves like love at first sight that doesn’t think about the consequences of the ardent now or the larger, long-term picture.

Writer/director Tiller Russell doesn't directly ask us to take a side in Silk Road, a dramatization of the creation and downfall of the eponymous darknet website. But the implications of which side the filmmaker wants us to lean toward are strong—and feel a bit disingenuous.

Body Brokers was clearly made with good intentions, but while it might still fill you with anger towards the predatory aspects of the rehabilitation industry, you'll also be upset that the script is not nearly as great as it could have been.

Neither as sweet or profound as the fanciful American indies like Ghost World that clearly inspired it, nor all that insightful in its interpretation of a single mother’s universal struggles, Bagnold Summer is sadly a forgettable film, often too ironically close to being the kind of bore its central character Daniel’s accidental summer in the English suburbs threatens to be.

Hovannisian's documentary would be much more convincing if he picked a single aspect of Tankian’s activism—or composing, or personality—and considered it in greater detail.

The superhero power of this movie comes from its endearingly offbeat characters, goofy humor, and gentle insights about finding optimism even when things go wrong.

Shook, about an influencer being tormented by a mysterious caller, takes the bait on making a movie about such social media vanity, but its touch-and-go terror hardly offers commentary or cleverness.

The filmmaker does a phenomenal job of setting up this world in a natural-seeming way, smuggling mountains of pertinent fact into conversations that pretend to be banal.